Meirelles, Zeferino, Bernardelli and others: the trajectory of the pensioners of the Imperial Academy in Rome

Abstract

The present article deals with the conception of France as a maximum source of Modernity in the Nineteenth Century, trying to demonstrate that it is historically constructed. The text also aims a better understanding of the artistic trajectory of Brazilian painters and sculptors who complemented their studies in Rome. In which institutions have they studied? To which artistic movements are they connected? Which access did they have to the historical production of art? These are some of the questions we attempt to answer, to understand the components that gives a specific materiality to their productions.