The copy drawing focuses attention in the exterior reality, and is indicated in people who fantasiam, compelling to perceive them it and to reproduce the reality as it is. The immense difficulty that finds in producing is not alone the fear to make a mistake, is the proper difficulty to give aiming in its life. It is indicated for dispersed, sonhadoras people, confused daily pay-adolescents and adolescents. It develops the aesthetic sense, fixing the external way. In the free drawing, the people enter in contact with its internal reality, leaving to flow contents that are the point to emerge. In the directed drawings, those facts from a subject that the therapeutic art-psico chooses, the individuals enter in contact, with its reality, mobilizing blocked emotions that they need to emerge.
Indicated for depressed people, with tnus vital lowered. How much to the monochromatic drawings they propitiate the work with superficial emotions, in peripheral level. Already the colorful drawings allow the work with deep emotions. The analysis of the drawing is not necessary, and yes analysis of the interpretation of the individual with regard to the fact. 3.1.2? Painting The more expression, more self-knowledge and more autoconfiana.
The painting, as well as the drawing, can be free, of directed copy or. With the painting, it works estruturao and emotional the affective area, arriving at the balance of the emotions. the more flowed the ink, more emotional is the result. When the painting flows, is born emotions and feelings there. Emotional the affective sphere is more including, therefore the flicks remember the respiratory flow, the life in itself. The used inks generally are: gouache, watercolor, aniline, oil, acrylic and nanquim. The ink gouache demands greater has controlled of movement, liberates emotions and stimulates the imagination. The watercolor, which had its slightness, and the obligator water use, mobilizes the affective side still more. Indicated for very rational people and with affective difficulties.
This research, objective to elucidate some concepts of parody, intertextualidade, dialogismo carnavalizao, as well as (reverse speed) knowing some of the parodies of ' ' Song of the Exlio' ' of Gonalves Days, and also of the painting of Leonardo Of the Vinci, ' ' Mona Lisa' '. to leave of some theoreticians as: Coast, Stam, Bakhthin, Fvero and Freire, will be possible to understand the concepts that will be studied, in the poetry and the painting. The first part of this work, will bring brief concepts for these analyses, as the ideas of the mentioned authors already above. Soon, in the second part, the analysis of the Song of the Exile, as well as, some of its parodies. In the third part, ' will approach some conceptions of the painting; ' Mona Lisa' ' of Of the Vinci with some parodies as of Botero, Maurcio de Souza, Duchamp, and From there, thus showing some of the ideas that these paintings transmit in them.
The picture Madonna Litta was attributed the Leonardo of the Vinci and would have been painted in the period of the High Renaissance (1480 up to 1527), for return of 1490-1, at a time where the presumption author liveed in Milan. However, its origin is controversa, being that some studious they say that Leonardo would have made a part of the picture and some of its disciples concluded. The picture is the representation of a woman suckling its son, who can be understood as representation of Maria and its son Jesus. The woman and the child more meet the front of the picture, they seem next to who observes and are well salient not only therefore, but also for being more illuminated than the remain of the picture. The image is very symmetrical, since the traces of the personages until its localization Madonna and the son to the center, between two windows. The blackout of cmodo contrasted with the light of the windows to the deep one contributes for ' ' iluminao' ' of the personages. The windows are singelas, the landscape that if can see through them is simple sky and some mountains, a sossegado place, uninhabited, where the boy Jesus can feed itself tranquilamente. The windows seem to be there only to contribute with the light of the picture and to show that the main figures of the image if find inside of some place.
The light, the windows, the position of the personages gives to perspective the workmanship, marcante characteristic in the workmanships of Leonardo, as well as in the ones of the Renaissance almost that as a whole. The woman is of foot and looks at very calmly for the child. Its expression demonstrates a certain satisfaction to have that baby in the col. The boy looks at for the spectator, however of indirect form, distracted, as that enlevada with the seio that he feeds to it.