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The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

The Role of Museums in Education

Museums provide knowledge and inspiration, while also connecting communities. At a time of economic recovery, and in the run-up to the Olympics, they are more important than ever. Museums and galleries deliver world-class public services which offer individuals and families free and inspiring places to visit and things to do. Museums attract audiences from home and abroad. Museums provide the places and resources to which people turn for information and learning. They care for the legacy of the past while creating a legacy for the future.

Museums are uniquely egalitarian spaces. Whether you are rich, poor, or uniquely-abled, the museum door is always an open welcome. A sense of history and beauty, gifts from our cultural heritage, inspires the ordinary soul into extraordinary possibilities. They bind communities together, giving them heart, hope and resilience. They make a vital contribution to international relations and play a unique role in fostering international cultural exchange. If life was just about earning to eat, we'd be depleted and tired. Museums bring to life the opportunity to experience meaning beyond the mundane. Museums make the soul sing!

The most visible and expected offerings of a museum are its exhibitions. Exhibitions tell stories through objects. In a world where virtual experiences are ever increasing, museums provide tangible encounters with real objects.

What does looking at a crystal clear specimen of beryl, a vertebrate fossil emerging from its plaster jacket, or the flag that flew over Inge Lehman's seismological observatory provide in an educational sense? Some professionals maintain that the visceral reaction of wonder, awe or curiosity – the affective response of the viewer – is the enduring legacy of a museum visit. It opens the door to the visitor's mind, engaging them in a discipline that perhaps failed to interest them through other means, and might inspire them to learn more. Furthermore, the social context of a museum visit, where exploration occurs in a friendly atmosphere without the pressure of tests and grades, helps keep that door open.

Curators and educators also aspire to engage the rational mind of the viewer. A mineral collected in the field and displayed in the museum is out of its original context, but thoughtful juxtaposition of the mineral with other objects helps the visitor make new connections. Exhibit labels or a knowledgeable docent leading a tour not only inform directly, but also guide visitors in making their own observations of the object. Hands-on displays combined with objects can provide forceful connections – an “aha!” experience for the visitor.Alan J. Friedman, the former director of the New York Hall of Science, recounts a watershed experience during a 1970 museum visit in which a model telescope that the could touch and adjust brought to life the meaning of the antique telescope.

Museums are the world's great learning resource – they introduce new subjects, bring them alive and give them meaning. Learning in museums improves confidence and attainment: it also opens us to the views of our fellow citizens. Museum collections and the knowledge of museum professionals inspire learning. As the world around us changes, museums and galleries promote awareness of the critical questions of place, humanity, science and innovation.

Adaptado dos sites: http://tle.geoscienceworld.org/cgi/reprint/26/10/1322.pdf e http://www.nationalmuseums.org.uk/media/documents/what_we_do_documents/museums_deliver_full.pdf, pp. 3-4

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Texto 2

Anunciado que a tela O Ator, uma das mais célebres do pintor Pablo Picasso, foi rasgada involuntariamente por uma mulher que assistia a uma aula de educação artística para adultos no Museu Metropolitan, em Nova York. Interessada em conferir de perto os detalhes da obra, ela perdeu o equilíbrio e caiu sobre a tela, causando um rasgão de 15 centímetros no canto inferior da pintura. O quadro era avaliado em 130 milhões de dólares. Com o acidente, deve perder metade desse valor. Pintada entre 1904 e 1905, a tela é conhecida como o marco inicial da fase rosa de Picasso, período anterior ao cubismo. A expectativa é que O Ator volte a ser exibido, restaurado, apenas no fim de abril.

(Revista Veja, 3 de fevereiro de 2010)

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Texto 2

Anunciado que a tela O Ator, uma das mais célebres do pintor Pablo Picasso, foi rasgada involuntariamente por uma mulher que assistia a uma aula de educação artística para adultos no Museu Metropolitan, em Nova York. Interessada em conferir de perto os detalhes da obra, ela perdeu o equilíbrio e caiu sobre a tela, causando um rasgão de 15 centímetros no canto inferior da pintura. O quadro era avaliado em 130 milhões de dólares. Com o acidente, deve perder metade desse valor. Pintada entre 1904 e 1905, a tela é conhecida como o marco inicial da fase rosa de Picasso, período anterior ao cubismo. A expectativa é que O Ator volte a ser exibido, restaurado, apenas no fim de abril.

(Revista Veja, 3 de fevereiro de 2010)

Leia o texto abaixo e responda às questões propostas.

Texto 1

Tesouro musical

Entre o fim do século XVII e meados do XIX, surgiu na Europa uma preciosa coleção de órgãos de igreja que, até hoje, se distingue pelas dimensões monumentais, pela riqueza de ornamentos e pelo som, de nitidez incomparável. De valor inestimável para a arte sacra e a música erudita, tendo sido uma das principais ferramentas de trabalho de compositores como o alemão Johann Sebastian Bach (1685- 1750), esses órgãos barrocos formam um surpreendente acervo no Brasil – tesouro pouco conhecido que, só agora, começa a vir à luz. O mérito é de uma pesquisa conduzida na Universidade Sorbonne, que catalogou os exemplares existentes no país. A lista não é extensa. De uma centena deles de que se tem registro no século XVIII, sobraram apenas quinze, dois dos quais em funcionamento. A coleção, modesta se comparada à de países europeus, chama atenção pelo exagero de pinturas e entalhes recobertos de ouro e ainda por uma peça que a torna singular: um instrumento de 1710 assinado pelo alemão Arp Schnitger (1648-1719), espécie de Antonio Stradivari, o célebre construtor de violinos, no mundo dos órgãos barrocos. Não há mais que trinta desses Schnitgers em uso. O do Brasil enfeita a Catedral da Sé de Mariana, em Minas Gerais, à qual foi doado em 1753 por dom José I, rei de Portugal. Restaurado, ainda se presta a belíssimos concertos de música barroca.

O atual trabalho ajuda a lançar luz sobre a história desses órgãos no Brasil – e também sobre a própria história do país. O propósito original ao trazê-los da Europa para a colônia era animar missas e arregimentar fiéis. “Esses instrumentos vão funcionar melhor do que as pregações”, escreveu ao rei o bispo de Salvador, dom Pero Fernandes Sardinha, em 1552, imbuído da missão de catequizar índios. No Brasil imperial, os órgãos barrocos se popularizaram, a exemplo do que ocorria àquele tempo nas cortes europeias. Na cena da coroação de dom Pedro I, em 1822, retratada por Debret, aparece ao fundo o órgão no qual se executou, naquela ocasião, composição de José Maurício Nunes Garcia, um dos grandes nomes da música barroca no Brasil (sim, houve uma profícua produção do gênero no país, ainda que com o previsível atraso e influências do classicismo). Tal órgão, do qual só permaneceu uma parte da caixa ricamente decorada, pode ser visto na antiga Catedral da Sé do Rio de Janeiro.

Nenhum instrumento produz, sozinho, acordes tão ricos quanto os órgãos barrocos. Seu princípio de funcionamento é o de um instrumento de sopro, mas, no lugar do pulmão humano, se faz uso de foles que enviam o ar, simultaneamente, a dezenas de tubos que emitem o som. É como se fosse um conjunto de flautas gigantes, com até 10 metros de altura. “O que distingue os modelos barrocos é que nenhum outro permite escutar com tamanha nitidez tantos acordes ao mesmo tempo”, afirma a especialista Elisa Freixo. Seu mecanismo garante que o ar chegue imediatamente aos tubos quando o teclado é acionado, processo que leva até meio segundo nos demais modelos – suficiente para a perda de limpidez do som. Eles também se diferenciam pela concentração de finíssimos tubos, de onde saem tons de um agudo extremo. Os órgãos fabricados mais tarde privilegiaram sons mais graves e difusos – o que os adequava a uma nova função, a de integrar orquestras.

Países como Espanha e Portugal, donos de valiosas coleções de órgãos barrocos, já se dedicam à conservação desses instrumentos há um século. “No Brasil, predomina o descaso”, diz o brasileiro Marco Aurélio Brescia, à frente da pesquisa da Sorbonne. Ele ficou chocado, por exemplo, ao encontrar na cidade mineira de Bom Jesus do Amparo destroços de um órgão barroco do século XIX, obra de um artesão local. Com o que sobrou, ainda é possível reconstruir o maquinário original. De outra preciosidade da coleção, o órgão do Mosteiro de São Bento, no Rio, só ficou de pé a caixa original – até hoje lá –, boa amostra da imponência barroca. Mesmo que com atraso, o inventário dessas obras é o primeiro passo para a conservação do tesouro que restou.

(Marcelo Bortoloti, in Revista Veja, 3 de fev. de 2010)

Leia o texto abaixo e responda às questões propostas.

Texto 1

Tesouro musical

Entre o fim do século XVII e meados do XIX, surgiu na Europa uma preciosa coleção de órgãos de igreja que, até hoje, se distingue pelas dimensões monumentais, pela riqueza de ornamentos e pelo som, de nitidez incomparável. De valor inestimável para a arte sacra e a música erudita, tendo sido uma das principais ferramentas de trabalho de compositores como o alemão Johann Sebastian Bach (1685- 1750), esses órgãos barrocos formam um surpreendente acervo no Brasil – tesouro pouco conhecido que, só agora, começa a vir à luz. O mérito é de uma pesquisa conduzida na Universidade Sorbonne, que catalogou os exemplares existentes no país. A lista não é extensa. De uma centena deles de que se tem registro no século XVIII, sobraram apenas quinze, dois dos quais em funcionamento. A coleção, modesta se comparada à de países europeus, chama atenção pelo exagero de pinturas e entalhes recobertos de ouro e ainda por uma peça que a torna singular: um instrumento de 1710 assinado pelo alemão Arp Schnitger (1648-1719), espécie de Antonio Stradivari, o célebre construtor de violinos, no mundo dos órgãos barrocos. Não há mais que trinta desses Schnitgers em uso. O do Brasil enfeita a Catedral da Sé de Mariana, em Minas Gerais, à qual foi doado em 1753 por dom José I, rei de Portugal. Restaurado, ainda se presta a belíssimos concertos de música barroca.

O atual trabalho ajuda a lançar luz sobre a história desses órgãos no Brasil – e também sobre a própria história do país. O propósito original ao trazê-los da Europa para a colônia era animar missas e arregimentar fiéis. “Esses instrumentos vão funcionar melhor do que as pregações”, escreveu ao rei o bispo de Salvador, dom Pero Fernandes Sardinha, em 1552, imbuído da missão de catequizar índios. No Brasil imperial, os órgãos barrocos se popularizaram, a exemplo do que ocorria àquele tempo nas cortes europeias. Na cena da coroação de dom Pedro I, em 1822, retratada por Debret, aparece ao fundo o órgão no qual se executou, naquela ocasião, composição de José Maurício Nunes Garcia, um dos grandes nomes da música barroca no Brasil (sim, houve uma profícua produção do gênero no país, ainda que com o previsível atraso e influências do classicismo). Tal órgão, do qual só permaneceu uma parte da caixa ricamente decorada, pode ser visto na antiga Catedral da Sé do Rio de Janeiro.

Nenhum instrumento produz, sozinho, acordes tão ricos quanto os órgãos barrocos. Seu princípio de funcionamento é o de um instrumento de sopro, mas, no lugar do pulmão humano, se faz uso de foles que enviam o ar, simultaneamente, a dezenas de tubos que emitem o som. É como se fosse um conjunto de flautas gigantes, com até 10 metros de altura. “O que distingue os modelos barrocos é que nenhum outro permite escutar com tamanha nitidez tantos acordes ao mesmo tempo”, afirma a especialista Elisa Freixo. Seu mecanismo garante que o ar chegue imediatamente aos tubos quando o teclado é acionado, processo que leva até meio segundo nos demais modelos – suficiente para a perda de limpidez do som. Eles também se diferenciam pela concentração de finíssimos tubos, de onde saem tons de um agudo extremo. Os órgãos fabricados mais tarde privilegiaram sons mais graves e difusos – o que os adequava a uma nova função, a de integrar orquestras.

Países como Espanha e Portugal, donos de valiosas coleções de órgãos barrocos, já se dedicam à conservação desses instrumentos há um século. “No Brasil, predomina o descaso”, diz o brasileiro Marco Aurélio Brescia, à frente da pesquisa da Sorbonne. Ele ficou chocado, por exemplo, ao encontrar na cidade mineira de Bom Jesus do Amparo destroços de um órgão barroco do século XIX, obra de um artesão local. Com o que sobrou, ainda é possível reconstruir o maquinário original. De outra preciosidade da coleção, o órgão do Mosteiro de São Bento, no Rio, só ficou de pé a caixa original – até hoje lá –, boa amostra da imponência barroca. Mesmo que com atraso, o inventário dessas obras é o primeiro passo para a conservação do tesouro que restou.

(Marcelo Bortoloti, in Revista Veja, 3 de fev. de 2010)

Leia o texto abaixo e responda às questões propostas.

Texto 1

Tesouro musical

Entre o fim do século XVII e meados do XIX, surgiu na Europa uma preciosa coleção de órgãos de igreja que, até hoje, se distingue pelas dimensões monumentais, pela riqueza de ornamentos e pelo som, de nitidez incomparável. De valor inestimável para a arte sacra e a música erudita, tendo sido uma das principais ferramentas de trabalho de compositores como o alemão Johann Sebastian Bach (1685- 1750), esses órgãos barrocos formam um surpreendente acervo no Brasil – tesouro pouco conhecido que, só agora, começa a vir à luz. O mérito é de uma pesquisa conduzida na Universidade Sorbonne, que catalogou os exemplares existentes no país. A lista não é extensa. De uma centena deles de que se tem registro no século XVIII, sobraram apenas quinze, dois dos quais em funcionamento. A coleção, modesta se comparada à de países europeus, chama atenção pelo exagero de pinturas e entalhes recobertos de ouro e ainda por uma peça que a torna singular: um instrumento de 1710 assinado pelo alemão Arp Schnitger (1648-1719), espécie de Antonio Stradivari, o célebre construtor de violinos, no mundo dos órgãos barrocos. Não há mais que trinta desses Schnitgers em uso. O do Brasil enfeita a Catedral da Sé de Mariana, em Minas Gerais, à qual foi doado em 1753 por dom José I, rei de Portugal. Restaurado, ainda se presta a belíssimos concertos de música barroca.

O atual trabalho ajuda a lançar luz sobre a história desses órgãos no Brasil – e também sobre a própria história do país. O propósito original ao trazê-los da Europa para a colônia era animar missas e arregimentar fiéis. “Esses instrumentos vão funcionar melhor do que as pregações”, escreveu ao rei o bispo de Salvador, dom Pero Fernandes Sardinha, em 1552, imbuído da missão de catequizar índios. No Brasil imperial, os órgãos barrocos se popularizaram, a exemplo do que ocorria àquele tempo nas cortes europeias. Na cena da coroação de dom Pedro I, em 1822, retratada por Debret, aparece ao fundo o órgão no qual se executou, naquela ocasião, composição de José Maurício Nunes Garcia, um dos grandes nomes da música barroca no Brasil (sim, houve uma profícua produção do gênero no país, ainda que com o previsível atraso e influências do classicismo). Tal órgão, do qual só permaneceu uma parte da caixa ricamente decorada, pode ser visto na antiga Catedral da Sé do Rio de Janeiro.

Nenhum instrumento produz, sozinho, acordes tão ricos quanto os órgãos barrocos. Seu princípio de funcionamento é o de um instrumento de sopro, mas, no lugar do pulmão humano, se faz uso de foles que enviam o ar, simultaneamente, a dezenas de tubos que emitem o som. É como se fosse um conjunto de flautas gigantes, com até 10 metros de altura. “O que distingue os modelos barrocos é que nenhum outro permite escutar com tamanha nitidez tantos acordes ao mesmo tempo”, afirma a especialista Elisa Freixo. Seu mecanismo garante que o ar chegue imediatamente aos tubos quando o teclado é acionado, processo que leva até meio segundo nos demais modelos – suficiente para a perda de limpidez do som. Eles também se diferenciam pela concentração de finíssimos tubos, de onde saem tons de um agudo extremo. Os órgãos fabricados mais tarde privilegiaram sons mais graves e difusos – o que os adequava a uma nova função, a de integrar orquestras.

Países como Espanha e Portugal, donos de valiosas coleções de órgãos barrocos, já se dedicam à conservação desses instrumentos há um século. “No Brasil, predomina o descaso”, diz o brasileiro Marco Aurélio Brescia, à frente da pesquisa da Sorbonne. Ele ficou chocado, por exemplo, ao encontrar na cidade mineira de Bom Jesus do Amparo destroços de um órgão barroco do século XIX, obra de um artesão local. Com o que sobrou, ainda é possível reconstruir o maquinário original. De outra preciosidade da coleção, o órgão do Mosteiro de São Bento, no Rio, só ficou de pé a caixa original – até hoje lá –, boa amostra da imponência barroca. Mesmo que com atraso, o inventário dessas obras é o primeiro passo para a conservação do tesouro que restou.

(Marcelo Bortoloti, in Revista Veja, 3 de fev. de 2010)