A permanência dos símbolos teriomórficos na arte e na psique / The permanence of teriomorphic symbols in art and in the psyche / La permanencia de los simbolos del teriomorfismo en el arte y en la psique

O artigo trata de símbolos teriomórficos referidos a animais. A importância que exercem pode ser atestada pela permanência na arte (pinturas parietais até os grafites contemporâneos) e na psique. A perpetuação de símbolos e temas é tratada por estudos como os de Aby Warburg em história da arte, com as noções de Kulturgeschichte, Pathosformele Mnemosyne: a recorrência de temas, emoções e comportamentos revela a perpetuação de símbolos interligados à cultura. Essa recorrência simbólica, em termos psíquicos é entendida por C.G. Jung mediante as noções de arquétipo e inconsciente coletivo. Autores contemporâneos a Warburg e a Jung e seus respectivos conceitos, bem como a apresentação de algumas obras de arte, ilustram a importância dos símbolos teriomórficos.Aventa-se a hipótese de que seja uma necessidade psíquica de reunir a natureza biológica, sua força desejante instintiva com a esfera da mente e do sentido de ser constantemente renovada (AU).

Teriomorphicsymbols refer to animals. The importance they exercise can be demonstrated by the permanence of these symbols both in art (parietal paintings to contemporary graffiti) and in the psyche. The perpetuation of symbols and themes is dealt with by studies suchas those by Aby Warburg in art history: Kulturgeschichte, Pathosformel and Mnemosyne. The recurrence of themes, emotions and behaviors reveals the perpetuation of symbols intertwined with culture. This symbolic recurrence, in psychic terms, is understood by C.G. Jung through the notions of archetype and collective unconscious. Contemporary authors of Warburg and Jungand their respective concepts, as well as the presentation of some works of artillustratethe importance of teriomorphic symbols. It is hypothesized that it is a psychic need to unite the biological nature, its instinctive desiring force with the sphere of the mind and the sense of being constantly renewed (AU).

Los símbolos teriomorfosse refieren a los animales. La importancia que ejercen puede ser atestiguada por su permanencia en el arte (pinturas parietales hasta grafitis contemporáneos) y en la psiquis. La perpetuación de símbolos y temas es abordada por estudios como los de Aby Warburg en historia del arte: Kulturgeschichte, Pathosformel y Mnemosyne: la recurrencia de temas, emociones y comportamientos revela la perpetuación de símbolos entrelazados con la cultura. Esta recurrencia simbólica, en términos psíquicos, es comprendida por C.G. por Jung a través de las nociones de arquetipo e inconsciente colectivo. Autores contemporáneos de Warburg y Jungy sus respectivos conceptos,así como la presentación de algunas obras de arte, ilustran la importancia de los símbolos teriomorfos. Se plantea la hipótesis de que se trata de una necesidad psíquica de unir la naturaleza biológica, su fuerza instintiva deseante con la esfera de la mente y el sentido de renovarse constantemente (AU).

El campo inglés / The English countryside / O campo inglês

This article is a historical research that focuses on the site where the National Directorate of Health of the Armed Forces, the Central Hospital, the General Directorate of Peripheral Care, the Supply Division and the Directorate of Architecture and Hospital Engineering are currently located. It has belonged to the Uruguayan State since its creation. During the decades of 1880 and 1890, it was given on loan to one of the oldest clubs in our country, the Montevideo Cricket Club. The first two soccer matches of which there are historical references took place there. Of those first years, there are no photographs of that area, but there is an oil painting made around 1930-34 by a member of the Cricket that until now the only thing that is known of the person is the name, A.W. Hall. Hall. This painting is currently located in the aforementioned clubhouse.

Este artigo é uma pesquisa histórica que se concentra no local onde se encontram atualmente a Diretoria Nacional de Saúde das Forças Armadas, o Hospital Central, a Diretoria Geral de Atenção Periférica, a Divisão de Abastecimento e a Diretoria de Arquitetura e Engenharia Hospitalar. Pertence ao Estado uruguaio desde sua criação. Durante os anos 1880 e 1890, ela foi emprestada a um dos clubes mais antigos de nosso país, o Montevideo Cricket Club. As duas primeiras partidas de futebol, das quais há referências históricas, aconteceram ali. Desde aqueles primeiros anos, não há fotografias desta área, mas há uma pintura a óleo feita por volta de 1930-34 por um membro do Cricket Club, cujo único nome conhecido é A.W. Hall. Salão. A pintura está atualmente alojada na sede do clube acima mencionado.

El presente artículo es una investigación histórica que tiene como eje el predio donde actualmente se erige la Dirección Nacional de Sanidad de las Fuerzas Armadas, Hospital Central, Dirección General de Atención Periférica, División Abastecimientos y Dirección de Arquitectura e Ingeniería Hospitalaria. El mismo pertenece al Estado Uruguayo desde su creación. Durante las décadas de 1880 y 1890, se entregó en comodato a uno de los clubes más antiguos de nuestro país, el Montevideo Cricket Club. En él se llevaron a cabo los dos primeros partidos de fútbol de los cuales se tienen referencias históricas. De esos primeros años, no existen fotografías de dicha área, sí, un óleo realizado alrededor de 1930-34 por un miembro del Cricket que hasta el momento lo único que se conoce de la persona es el nombre, A.W. Hall. Dicha pintura, se localiza actualmente en la sede del club mencionado.

Cozinhando mudanças: os significados do ato de cozinhar para mulheres de um Grupo de Agricultura Urbana da zona leste da cidade de São Paulo / Cooking up changes: the meanings of the act of cooking for women in an urban agriculture group in the east side of the city of São Paul

Introdução: O ato de cozinhar envolve diversos símbolos e significados, sendo uma prática social legítima que pode ser vista como um espaço criativo do cotidiano. Esse ato pode englobar dimensões culturais, ambientais, sociais, econômicas e políticas, sendo um espaço promissor para promoção de diálogos, aprendizados e transformações. Junto a isso, compõe um dos princípios do Marco de Educação Alimentar e Nutricional e é recomendado pelo Guia alimentar para a população brasileira, como uma ação que deve ser valorizada e um passo para se ter uma alimentação saudável. Sendo assim, o ato de cozinhar corrobora com o cumprimento de agendas públicas, o que justifica o desenvolvimento deste estudo. Objetivo: Compreender os significados do ato de cozinhar para as mulheres de um grupo de agricultura urbana (GAU), da zona leste da cidade de São Paulo e entender a relação que estabelecem entre o ato de cozinhar e suas atividades agrícolas. Métodos: O método utilizado foi os mapas corporais narrados, o qual faz uso de desenho, pintura e outras técnicas baseadas na arte, junto a narrativas orais, para representar aspectos da vida das pessoas e também do mundo em que vivem. Participaram do estudo sete mulheres que compõem o grupo "Mulheres do GAU", as quais desenvolvem ações relacionadas à agricultura e ao cozinhar. Os dados gerados foram analisados por meio de análise temática. Resultados: Os resultados são apresentados em duas partes. Parte I: apresentação dos sete mapas corporais narrados construídos. Parte II: apresentação dos resultados e discussão, agrupados em três temas: (I) Os ingredientes do trabalho coletivo, que aborda a relação do cozinhar com o afeto, a fé e as tradições e origens das Mulheres do GAU; (II) O preparo de mesas fartas, no qual se discute a relação das atividades dessas mulheres com a troca e a produção de conhecimentos, junto às transformações que essas práticas geram em suas vidas; (III) Servindo e compartilhando as preparações, que aborda as conexões do ato de cozinhar com a prática de agricultura urbana e como essas atividades se relacionam com o entorno onde vivem e os sistemas alimentares. Conclusão: A partir dos resultados analisados, entende-se que o cozinhar, para as Mulheres do GAU, é uma atividade que engloba mais do que técnicas e habilidades, resgatando, por meio de sua prática, a ancestralidade e a cultura dos envolvidos. O cozinhar proporcionou mudanças em diferentes áreas das vidas dessas mulheres, como em relação aos hábitos alimentares e situação financeira. Também estabeleceu relações com a comunidade onde vivem e outros contextos, além de ser um conector do campo à mesa, fortalecendo as atividades de agricultura que realizam. Nesse sentido, o cozinhar traz a comida para o centro das discussões, oferecendo a oportunidade de aprender e discutir assuntos relacionados aos temas citados acima, como identidade cultural, valorização de conhecimentos e sistemas alimentares sustentáveis. O ato de cozinhar pode ser, então, uma ação propícia para promover saúde no seu sentido mais amplo, contemplando o bem-estar biopsicossocial em consonância com questões de sustentabilidade social, econômica e ambiental.

Introduction: The act of cooking involves different symbols and meanings, being a legitimate social practice that can be seen as a creative space in everyday life. This act can encompass cultural, environmental, social, economic, and political dimensions, being a promising space for promoting dialogues, learning, and transformations. Along with this, it is one of the principles of the Reference Landmark of Food and Nutrition Education for Public Policies and is recommended by the Dietary Guidelines for the Brazilian Population as an action that should be valued and a step towards healthy eating. Thus, the act of cooking corroborates the fulfillment of public agendas, which justifies the development of this study. Objective: To understand the meanings of the act of cooking for women in an urban agriculture group (GAU in Portuguese) in the eastside of São Paulo city and to understand the relationship they establish between the act of cooking and their agricultural activities. Methods: The method used was body-map storytelling, which makes use of drawing, painting and other art-based techniques, together with oral narratives, to represent aspects of people's lives and also of the world in which they live. Seven women who make up the group 'Women of GAU' and develop actions related to agriculture and cooking participated in the study. The generated data were analyzed through thematic analysis. Results: Results are presented in two parts. Part I: presentation of the seven built narrated body maps. Part II: presentation of results and discussion, grouped into three themes: (I) The ingredients of collective work, which addresses the relationship between cooking and Women of GAU's affection, faith, traditions and origins; (II) The preparation of full tables, in which the relationship of their activities with the exchange and production of knowledge is discussed, together with the transformations that these practices generate in their lives; (III) Serving and sharing preparations, which addresses the connections of the act of cooking with the practice of urban agriculture and how these activities relate to the environment where they live and to the food systems. Conclusion: Based on the analyzed results, it is understood that cooking, for the Women of GAU, is an activity that encompasses more than techniques and skills since it rescues the ancestry and culture of those involved. Cooking has brought changes in different areas of these women's lives, such as in the eating habits and financial situation. It has also established relationships with the community where they live and other contexts, in addition to being a field-to-table connector, strengthening the agricultural activities they carry out. In this sense, cooking brings food to the center of discussions, offering an opportunity to learn and discuss issues related to the themes mentioned above, such as cultural identity, valuing knowledge and sustainable food systems. The act of cooking can then be an appropriate action to promote health in its broadest sense, contemplating biopsychosocial well-being in line with issues of social, economic and environmental sustainability.

Abertura à experiência e preferência em obras de arte figurativas e não figurativas / Opening to experience and preference for figurative and non-figurative works of art / Apertura a la experiencia y preferencia por obras de arte figurativas y no figurativas

A arte não representacional é outra maneira de aludir à arte abstrata, sendo um estilo no qual os objetos não se parecem com aqueles que se apresentam na natureza física concreta. No último século, foram realizadas investigações experimentais sobre estética e personalidade objetivando revelar fatores contribuintes para as diferenças quanto às preferências artísticas. Este estudo explorou as associações entre abertura à experiência e preferência por arte visual. Os participantes completaram a Escala Fatorial de Abertura e classificaram a preferência por quatro imagens diferentes correspondentes à arte representativa e não representativa. A análise estatística dos dados revelou uma correlação positiva entre o fator Fantasia e a apreciação pelas pinturas abstratas (r =.20). Não foi verificada uma correlação estatisticamente significativa entre essa dimensão e a apreciação de pinturas figurativas. Embora esses achados sejam exploratórios, outras medidas mais completas relacionadas às diferenças individuais e preferências artísticas poderão ser utilizadas em novos estudos no Brasil.

Nonrepresentational art is another way to refer to abstract art elating to a style in which objects do not resemble those known in physical nature. In the last hundred years some experimental investigations of aesthetics and personality have been conducted to reveal fundamental factors which contribute to differences in artistic preference. This study explored associations among openness to experience and preference for visual art. Participants completed an Openess Fatorial Scale and provided preference ratings for different paintings corresponding to representational and nonrepresentational art. The statistical analysis of the data showed a positive correlation between the fantasy factor and appreciation for abstract paintings (r =.20). Here was no statistically significant correlation between this same dimension and the appreciation for figurative paintings. Although these findings are somewhat exploratory and more comprehensive measures of individual differences and art preferences could be employed in new studies in Brazil.

El arte no representacional es otra forma de referirse al arte abstracto que se adapta a un estilo en el que los objetos no se parecen a los que se conocen en la naturaleza física concrecta. En el siglo se han llevado a cabo investigaciones experimentales sobre estética y personalidad para revelar los factores contribuintes a las diferencias en preferencias artísticas. Los participantes completaron una Escala Fatorial de Abertura a experiencia y otorgaron calificaciones de preferencia para 4 diferentes images correspondientes al arte representativa y no representativa. El análisis estadístico de los datos mostró correlación entre el factor fantasía y y la apreciación de pinturas abstractas (r =.20). No fue verificada una correlación estadísticamente significativa entre esta dimension y la apreciación de las pinturas figurativas. Aunque estos hallazgos son exploratorios y podrían emplear medidas más completas de diferencias individuales y preferencias artísticas en nuevos estudios en Brasil.

Beyond 'A Clinical Lesson at La Salpêtrière': a brief assessment of André Brouillet's other paintings on medical subjects, life, and times / Além de 'Une Leçon Clinique à La Salpêtrière': uma breve apreciação das outras pinturas sobre temas médicos, vida e época de André Brouillet

ABSTRACT André Brouillet's (1857-1914) famous group tableau 'A Clinical Lesson at La Salpêtrière' (French: Une leçon clinique à la Salpêtrière) is possibly the most celebrated painting in the history of neurology. His depiction of one of Jean-Martin Charcot's legendary "Tuesday Lessons" includes portraits of not only one of the master's most famous patients, but also of his pupils, the heirs to the founder of modern neurology. However, the painter himself has long been neglected, and even his other paintings on medical subjects are little acknowledged. The authors aim to bring attention to Brouillet's life and times, as well as the remainder of his notable works; and in giving a proper context to the famous painting, neurologists today may be able to appreciate better the early history of our field and its cultural impact.

RESUMO A famosa pintura 'Une leçon clinique à la Salpêtrière', de André Brouillet's (1857-1914), é possivelmente a representação mais célebre da história da Neurologia. Seu retrato de uma das lendárias "lições de terça-feira" dirigidas por Jean-Martin Charcot inclui ainda não apenas uma das pacientes mais famosas do mestre como também seus pupilos, os fundadores da Neurologia moderna. Entretanto, o pintor propriamente dito é ainda negligenciado, e mesmo outras pinturas suas sobre temas médicos são pouco reconhecidas. Os autores trazem à atenção a vida e época de Brouillet, bem como o restante de seus outros trabalhos notáveis; dando contexto apropriado à pintura, neurologistas atuais podem compreender melhor a própria história de nossa especialidade e seu impacto cultural.

Los acúfenos de Miguel Ángel y su relación con la toxicología / Miguel Ángel's tinnitus and its relation to toxicology

Resumen El Plomo ha tenido una estrecha relación con el mundo artístico pictórico a través de los pigmentos utilizados por los artistas durante milenios. El íntimo contacto con sustancias químicas potencialmente peligrosas para la salud, casi siempre sin medidas de higiene y seguridad laboral, ha desarrollado en muchos casos, enfermedades laborales en estos artistas, a veces sospechadas y en otros casos, más que confirmadas. En el presente trabajo se analiza la historia de vida laboral de Miguel Angel Buonarroti, de quien se tiene registro suficiente como para establecer un nexo causal con exposición laboral al Plomo.

Abstract Lead has shown a close relationship with the fine arts'world through the pigments used by artists for thousand of years. Close contact with potentially dangerous chemical substances for health, almost always without occupational hygiene and safety measures, has produced, in many cases, occupational illnesses in these artists, sometimes suspected and in other cases, more than confirmed. In the present work, the history of Miguel Angel Buonarroti's working life is analyzed, since there is sufficient record to establish a causal link with occupational exposure to Lead.

Paul Klee y la esclerosis sistémica / Paul Klee and systemic sclerosis

Paul Klee representa uno de los pilares del arte de vanguardia del principio del siglo XX. Produjo una ingente cantidad de obras artísticas en sus 60 años de vida. La esclerosis sistémica se manifestó cinco años antes de morir, pero no por ello redujo su actividad creadora. En este artículo se analiza su historia y su enfermedad que tanto influyeron en su obra, y que lo convirtieron en ejemplo paradigmático de resiliencia ante la adversidad.

Paul Klee represents one of the pillars of avant-garde art of the early 20th century. He produced an enormous amount of artistic works in the sixty years of his life. Systemic sclerosis appeared five years before he died, but this did not reduce his creative activity. This article analyzes his life and his illness that so influenced his work and that is a paradigmatic example of resilience in the face of adversity.

Pictorial size perception in schizophrenia

In this study, we compared visual pictorial size perception between healthy volunteers (CG) and an experimental group (EG) of people diagnosed with schizophrenia. We have been using paintings by Salvador Dalí and Rorschach plates to estimate visual pictorial size perception. In this transversal, ex post facto, and quasi-experimental study, we observed differences between EG and CG. Schizophrenic in-patients perceived sizes about 1.3-fold greater than healthy volunteers (p=0.006), implying that pictorial size perception is altered in some way in schizophrenia. Considering the present and previous results, this measurement of diameter size of first pictorial perception may be a useful estimate of some aspects of perceptual alterations that may be associated with psychotic symptoms in prodromal and acute schizophrenic episodes and other related mental states. Eventually, this may help in preventing people from evolving to acute episodes.

Olhar e espaço como heterotopia na pintura de Manet: uma leitura de Michel Foucault / Glance and space as heterotopy in Manet's painting: a look on Foucault's interpretation / La Mirada y el espacio como heterotopía en lapintura de Manet: una lectura de Michel Foucault

O artigo demonstra a dimensão heterotópica do olhar e do espaço próprios à pintura de Manet. O espaço, tal como concebido por Foucault, se constitui como poder-saber, e o olhar, tal como erigido pela pintura de Manet, visibiliza as heterotopias. A metodologia consistiu na seleção e análise crítica dos textos de Foucault sobre a pintura de Manet e a heterotopia acrescida de bibliografia de comentadores voltados para a análise da pintura, da arte e da heterotopia na obra do pensador. A raridade da reflexão sistemática acerca das considerações foucaultianas sobre a pintura e o espaço concebido como "espaço outro" faz com que a demonstração do entrelaçamento entre o espaço produzido pelas pinturas de Manet e a heterotopia configure novidade na literatura dedicada ao pensador. Concluímos indicando como as discussões estéticas estão indissoluvelmente ligadas às análises do poder. Neste caminho, Foucault indica, por exemplo, que a experiência da transgressão batailliana do olhar evidencia a condição da visualidade pictórica das telas de Manet. A visibilização dos efeitos políticos do espaço e seus outros assim como da produção artística pavimenta um caminho possível para esboçar novas compreensões das relações dos corpos com os enraizamentos espaciais e seus desdobramentos subjetivos singulares...(AU)

This article demonstrates the heterotopic dimension of glance and space in Manet's painting. Space, as conceived by Foucault, is constituted as power-knowledge, and glance, as defined by Manet's painting, reveals heterotopies. The methodology consisted in the selection and critical analysis of Foucault's texts on Manet's painting and the heterotopia plus bibliography of Foucault readers focused on the analysis of painting, art and heterotopia. The rarity of the systematic reflection of the Foucauldian reflections on painting and the space conceived as different space makes the demonstration of the interweaving between the space produced by Manet's paintings and heterotopia configure novelty in the literature dedicated to the thinker. We conclude by indicating how the aesthetic discussions are inextricably linked to the analysis of power. This path that Foucault indicates, for example, that the experience of Bataillean`s transgression of gaze evidences the condition of the pictorial visuality of Manet's canvas. The visibility of the political effects of space and other effects as well as of artistic production paves the way to sketch new understandings of the relationships of bodies with spatial roots and their unique subjective unfoldings...(AU)

El artículo pretende demostrar la dimensión heterotópica de la mirada y del espacio en la pintura de Manet. El espacio concebido por Foucault se constituye un poder-saber, y la mirada erigida por la pintura de Manet visibiliza las heterotopías. La metodología consistió en la selección y análisis crítico de los textos de Foucault sobre la pintura de Manet y la heterotopía, y en la bibliografía de comentaristas dirigidos al análisis de la pintura, del arte y de la heterotopía en la obra del pensador. La rareza de la reflexión sistemática de las reflexiones foucaultianas sobre la pintura y el espacio considerado como "espacio otro" hace que la demostración del entrelazamiento entre el espacio producido por las pinturas de Manet y la heterotopía sea una novedad en la literatura dedicada al pensador. En la conclusión indicamos cómo las discusiones estéticas están indisolublemente vinculadas a los análisis del poder. En este marco, Foucault apunta, por ejemplo, que la experiencia de la transgresión batailliana de la mirada evidencia la condición de la visualidad pictórica de los lienzos de Manet. La viabilidad de los efectos políticos del espacio y sus otros, así como de la producción artística, pavimenta un camino posible para esbozar nuevas comprensiones de las relaciones de los cuerpos con los enraizamientos espaciales y sus desdoblamientos subjetivos singulares...(AU)

Crisis epiléptica en la obra Transfiguración de Rafael Sanzio / Epileptic seizure depicted in The Transfiguration a work by Raphael Sanzio

Entre 1516 y 1520 Rafael Sanzio (1483-1520) realizó la obra Transfiguración. Es un cuadro de gran formato que representa un relato de los evangelios de Lucas, Mateo y Marcos con dos escenarios principales, el primero en la parte superior muestra la transfiguración de Cristo en el Monte Tabor; el segundo en la parte inferior expone la escena de un niño endemoniado que varios apóstoles intentan curar infructuosamente, lo cual solo ocurrió cuando Jesús lo hizo. Esta composición, en otras palabras, muestra un milagro fallido que no es habitual en el arte sacro. Un análisis desde la semiología neurológica permite aseverar que el niño poseído está presentando una crisis epiléptica tónica postural. Este artículo analiza la obra, la semiología neurológica en ella y su relación con la historia de la neurología

Raphael Sanzio (1483-1520) painted The Transfiguration between 1516 and 1520. It is a large format painting that illustrates two main scenes as described in the Gospel accounts of Luke, Mathew and Mark. The first scene, in the upper half, shows Christ ́s transfiguration on Mount Tabor; the lower half, shows the devil-possessed child with the apostles who had attempted unsuccessfully to heal him, but Christ heals the boy. In other words, this composition shows a failed miracle which is unusual in sacred art. Based on a neurological semiology analysis we can assert that the possessed boy is experiencing a tonic postural seizure. This article analyzes the painting, the neurological features depicted in it and its relationship with the history of neurology.

Analysis of medicine paintings of fruit, vegetable and rice sections of Ben Cao Tu Jing / 中国中药杂志

Ben Cao Tu Jing is the earliest version of block-printed edition for herbals so far, with 933 medicinal paintings. In this paper, it analyzed the medicine paintings in the Fruit, Vegetable and Rice Sections of Ben Cao Tu Jing, as well as discussed the types of medicine paintings and relevant information when they were drawn. There are a total of 76 paintings in the fruits, vegetables and rice sections of Ben Cao Tu Jing, which can be divided into four types: broken branch paintings, ground paintings, rootless plant paintings and the whole plant with root paintings. The first three paintings were similar to the paintings of Tang and Song, and the paintings of the whole plant with root can be called the type of medicine paintings with Chinese characteristics created by Ben Cao Tu Jing. These four types of paintings had a profound impact on the later illustrations of medicinal materials, such as Lv Chan Yan Ben Cao, Jiu Huang Ben Cao, Ben Cao Pin Hui Jing Yao, Zhi Wen Ben Cao, Zhi Wu Ming Shi Tu Kao. The two types that had the greatest impact on later generations are the broken branch paintings and the whole plant with roots paintings, which had been inherited and developed in contemporary Chinese pharmacy books such as Zhong Yao Cai Pin Zhong Lun Shu and Zhong Hua Ben Cao. The paintings of the fruits, vegetables and rice sections are highly realistic and artistic, not only carrying the role of conveying medicinal knowledge, but also having unique aesthetic value. It can be inferred that the fruits, vegetables and rice sections had the participation of professional painters at least. In addition, through the highly consistent drawing styles of several sets of paintings, it is concluded that the paintings without place names were likely to be drawn uniformly by the editing team, and the local paintings may have been revised and improved by the editing team lately.

Goiter in Brazilian modernism paintings / Bócio em pinturas da arte moderna brasileira

Objective: To evaluate Di Cavalcanti's artworks in which goiters are represented before and after the introduction of iodized salt to the Brazilian population. Methods: One hundred and thirty paintings by Di Cavalcanti from the 20's to 70's demonstrating necks were evaluated. All the paintings were observed in reproductions. The neck circumference in the paintings was measured. Since there were no standard thresholds of neck circumference, cutoffs were based on the median. Baseline characteristics of artworks were compared based on high and normal neck circumference categories using Student's t-test, Mann-Whitney-Wilcoxon test, or chi square test. Results: We analyzed 29 artworks which portray the neck of 60 women (84.5%), 8 men (11.3%) and 3 children (4.2%). The analyses of the neck circumference showed 23.3% of women (14/60), 12.5% of men (1/8), and 33.3% of children (1/3) with an abnormal profile of the neck circumference. The neck circumference ratio in 29 paintings showed that the relative sizes of the necks painted between the 1920's and 1950's (r=0.45; p=0.03), and painted between the 1960's and 70's (r= 0.54; p=0.003) have linearly decreased. The decades in which the artworks were painted explained 40.0% of the variation in size of the neck circumference (p=0.002). Conclusion: Art imitates life. Di Cavalcanti was not a physician, and probably did not have the intention to illustrate a pathological condition, although the images observed in this study should be considered as goiter or enlarged neck.

Objetivo: Avaliar as obras de Di Cavalcanti em que bócios estão representados, antes e após a introdução da iodação do sal para a população brasileira. Método: Foram avaliadas 130 pinturas de Di Cavalcanti entre os anos 1920 e 1970 demonstrando pescoços. Todas as pinturas foram observadas em reproduções. A circunferência do pescoço nas pinturas foi mensurada. Como não existia limite-padrão da circunferência do pescoço, os limites foram baseados na mediana. As características básicas das obras de arte foram comparadas por categorias da circunferência do pescoço em elevadas e normais, usando o teste t de Student, o teste de Mann-Whitney-Wilcoxon ou o teste qui-quadrado. Resultados: Analisamos 29 obras de arte que representavam o pescoço de 60 mulheres (84,5%), 8 homens (11,3%) e 3 crianças (4,2%). Ao analisar a circunferência do pescoço, 23,3% das mulheres (14/60), 12,5% dos homens (1/8) e 33,3% das crianças (1/3) demonstraram perfil anormal dela. A relação da circunferência do pescoço em 29 pinturas demonstrou que as circunferências do pescoço relativas aos pescoços pintados entre os anos 1920 e 1950 (r=0,45; p=0,03) e pintados entre os anos 1960 e 1970 (r=0,54; p=0,003) reduziram linearmente. As décadas em que as obra foram pintadas explicaram 40,0% da variação no tamanho da circunferência do pescoço (p=0,002). Conclusão: A arte imita a vida. Di Cavalcanti não era médico e, provavelmente, não tinha intenção de ilustrar uma condição patológica, embora as observações das imagens, neste estudo, tenham sido consideradas como bócio ou com aumento de volume do pescoço

El niño con enfermedades infecciosas en las artes visuales: pintura / The child with infectious diseases in the visual arts: painting

Resumen: El impacto catastrófico de las enfermedades infecciosas sobre la salud infantil, como también el rol trascendental y benéfico aportado por la instauración y ejecución de medidas sanitarias y de inmuno- prevención ha sido un tema recurrente en la historia de la medicina, aunque una vez logrado el con trol de la enfermedad, estas pasan fácilmente al olvido. Ante esto, parece necesario rememorar aquel escenario social mediante un acercamiento a través de la pintura. Las obras pictóricas son testigo de aquello, pues las enfermedades son objeto de representación y a su vez se han convertido en un in valuable documento en la historia de la medicina. Patologías pediátricas como tuberculosis, difteria, poliomielitis, sarampión, viruela y sífilis como también el inicio de la vacunación, son analizadas en diversas pinturas con el objetivo de profundizar el conocimiento de la época histórica, el autor y su vínculo con dicha enfermedad.

Abstract: The catastrophic impact of infectious diseases on children's health, as well the transcendental and be neficial role played by the establishment and execution of health measures and immunoprevention, has been a recurrent subject in the history of medicine, although once the disease has been controlled, they are easily forgotten. In view of this, it seems necessary to recall that social scenario through an approach through painting. The pictorial works are witnesses of that since diseases are subject of representation, and at the same time, they have become an invaluable document in the history of me dicine. Pediatric pathologies such as tuberculosis, diphtheria, polio, measles, smallpox, and syphilis, as well as the initiation of vaccination, are analyzed in various paintings with the aim of deepening knowledge of the historical era, the author and his or her link to this disease.

Catarata e a expressao cromática na obra de Monet / Cataract and chromatic expression in Monet's work

Resumo Por conta de uma doença ocular, a obra de Monet foi analisada por múltiplas facetas, incluindo o reflexo da deterioração de sua visão nos seus trabalhos, motivo deste trabalho de revisão. Tendo como referência este panorama, propõe-se aqui pensar, por meio de algumas obras marcantes da biografia de Monet, a doença ocular catarata e o seu papel na história de vida deste pintor.

Abstract Due to the ocular disease, Monet's work was analyzed by multiple facets, including the reflection of the deterioration of his vision in his works, reason for this work of revision. With reference to this panorama, it is proposed here to think, by means of some remarkable works of the biography of Monet, the ocular cataract disease and the paper of this in the history of this painter's life.

Diego Rivera, the history of medicine in Mexico: peopled demand for better health, mural in 1953 still current / Diego Rivera: la historia de la medicina en México: el pueblo en demanda de salud, mural de 1953 aún vigente

Abstract: Although public health and social medicine have a long history in Latin America going back to Co lonial times, their relevance has ebbed and flowed as a result of the development of a variety of social and political movements. The Mexican Revolution accelerated implementation of public health po licies in Mexico and resulted in the creation of the Mexican Institute of Social Security to serve the health and social security needs of the country's population. Construction of the Hospital La Raza and its embellishment by the mural paintings of Diego Rivera and David Alfaro Siqueiros correspon ded to the heyday of public health ideas in Mexico. This is clearly reflected in Rivera's mural painting from 1953, The History of Medicine in Mexico: People's Demand for Better Health. The left side of the painting, representing the history of modern medicine in Mexico, exemplifies the tensions between individuals and social groups demanding the fruits of modern medicine and public health, and en trenched bureaucracy and private interests resisting their demands. Rivera's artistry illustrates this tension by depicting urban social groups and a family with a pregnant mother and children reques ting medical attention on one side of the main panel, facing condescending physicians, bureaucrats and upper society gentlemen and ladies on the other side. The importance of social movements to the development of public health policies illustrated by Rivera in 1953 continues to be relevant in Latin America today where increasing millions still lack the benefits of health care and social security.

El bop deTepantitla: ensayo histórico y artístico / The bop of Tepantitla: a historical and artistic essay

El bop de Tepantitla son representaciones pictóricas de los glifos de teopixqui y de tlancopinalitztli, ambos se encuentran en el mismo muro de Tepantitla en Teotihuacán, México.‡ Unas de sus representaciones artísticas, en la obra del pintor mexicano conocido como Jazzamoart, se tienen a partir del predominio de los colores vivos y de los instrumentos musicales. Sin embargo, el propósito de este ensayo es el de dar a conocer a la comunidad odontológica y compartir estos dos óleos a partir de la práctica dental mostrada en ellos (AU)

The bop of Tepantitla is pictorial representations of the teopixqui and tlancopinalitztli glyphs, from the Tepantitla wall of Teotihuacan, Mexico. One of their Mexican artistic representations, which is found in Jazzamoart work, merely refers to a great variety of the fl amboyant colors and represents musical instruments. Whereas, the purpose of this issue is to let known and sharing the referential dental practice revealed into these couple canvas to the dentistry community (AU)

Rubens y la artritis reumatoidea / Rubens and rheumatoid arthritis

El estudio de las pinturas barrocas, especialmente las de origen flamenco, permiten evidenciar en algunas de sus figuras signos físicos sugestivos de enfermedad. Peter Paul Rubens constituye uno de los máximos representantes de esta corriente artística. Se cree que Rubens padeció artritis reumatoidea (AR) y que retrató el desarrollo y progresión de su propia enfermedad en varias obras de arte. Este artículo relata brevemente la vida de Rubens y describe algunos de sus trabajos centrados en la figura humana con alteraciones articulares que podrían corresponder a una AR

The study of baroque paintings, especially those of Flemish origin, makes it possible to show in some of their figures physical signs suggestive of disease. Peter Paul Rubens constitutes one of the maximum representatives of this artistic current. It is believed that Rubens suffered from rheumatoid arthritis (RA) and that he portrayed the development and progression of his own disease in several works of art. This article briefly recounts Rubens' life and describes some of his works focused on the human figure with joint alterations that could correspond to an AR

A case of acute organic solvent poisoning during epoxy coating

BACKGROUND: In the construction industry, maintaining health and safety of workers often challenging. Among the workers at construction sites, painters are at particular risk of respiratory diseases and neurotoxicity. However, in Korea there is weak enforcement of workers' health and safety practices in the construction industry in Korea. Poisonings frequently occur at (semi)closed construction sites. In this study, we report a case of acute organic solvent poisoning during construction site painting. CASE PRESENTATION: A 71-year-old man was found unconscious at a construction site and immediately transferred to the emergency room. The consciousness level was 'stupor state' and the body temperature was hypothermic, at 32 degrees (Celsius). There were no acute brain or cardiac lesions that would have accounted for the faintness. In addition, blood and urine tests did not indicate a cause of loss of consciousness. He had been painting epoxy to waterproof the basement floor before fainting. According to exposure simulation, the patient was overexposed to various organic solvents, such as approximately 316–624 ppm toluene during the work before fainting. Considering the ventilation status of the workplace and the status of no protection, it is considered that exposure through the respiratory tract was considerable. CONCLUSIONS: The patient in this case lost consciousness during the epoxy coating in a semi-enclosed space. It can be judged as a result of acute poisoning caused by organic solvent exposure and considered to be highly related to work environment.

A arte de pintar o ventre materno: história oral de enfermeiras e obstetrizes / El arte de pintar el vientre materno: la historia oral de las enfermeras y parteras / The art of maternal womb painting: oral history of nurses and midwives

Resumo Objetivou-se, neste estudo, descrever quando, como e por que a enfermeira e a obstetriz aplicam a pintura no ventre de gestantes. Tratou-se de uma pesquisa exploratória, de abordagem qualitativa, na qual foi adotado o método da história oral temática. Participaram sete profissionais de saúde que aplicam a pintura no ventre e atendem gestantes no Brasil. A coleta ocorreu por meio de entrevistas, realizadas entre os meses de janeiro e maio de 2016. Os dados foram analisados com base na análise temática de conteúdo, de Laurence Bardin. A partir dos discursos, elaborou-se uma árvore histórica da pintura no ventre e emergiram três categorias que elucidam quando, como e por que a enfermeira e a obstetriz aplicam esta arte. Conclui-se que a pintura no ventre tem sido adotada no cuidado pré-natal e dentro da maternidade como estratégia de educação em saúde e na promoção do bem-estar materno e familiar.

Resumen El objetivo de este estudio fue describir cuándo, cómo y por qué la enfermera y la partera aplican la pintura en el vientre de mujeres embarazadas. Se trata de un estudio exploratorio cualitativo, donde se adoptó la metodología de la historia oral temática. Participaron siete profesionales de salud, los cuales aplican la pintura en vientre y atienden a mujeres embarazadas en Brasil. La recolección de datos ocurrió a través de entrevistas, realizadas entre Enero y Mayo de 2016. Los datos fueron analizados de conformidad con el análisis temático de contenido, de Laurence Bardin. A partir de los informes, ha sido elaborado un árbol histórico de la pintura en el vientre, junto a eso emergieron tres categorías las cuales aclaran cuándo, cómo y por qué la enfermera y partera aplican este arte. Se concluye que la pintura en el vientre ha sido adoptada en la atención prenatal y también dentro de la maternidad como estrategia de educación en salud, además de promover el bienestar materno y familiar.

Abstract The present study aimed to describe when, how and why the nurse and the midwife apply the painting on pregnant wombs. It was an exploratory research, qualitative approach, in which thematic oral history was adopted as method. Seven health professionals, who apply painting on the womb and attend pregnant women in Brazil, took part of it. The data provided through interviews conducted between January and May 2016. Data were examined based on the thematic analysis of content, of Laurence Bardin. From the interviews, historical tree of womb painting has been drawn up and three categories emerged, which clarify when, how and why the nurse and the midwife apply this art. The womb painting has been adopted in the prenatal care and in the maternity as a strategy for health education and the promotion of maternal and family well-being.

El retablo de Isenheim: religión, arte y medicina / The Isenheim altarpiece: religion, art and medicine

Northern Europe at the beginning of the 16th Century was in turmoil as a result of religious and political dissention, epidemics of plague, syphilis, ergotism, and famine, and the threat of the Ottoman Empire. In Alsace, a fulcrum between Germany, France, Switzerland and the Netherlands, Grünewald painted his celebrated and complex altarpiece at Isenheim in a convent chapel of the Antonine religious order that kept a hospital for the care of patients suffering from ergotism, plague, syphilis and other illnesses. The ten paintings of this altarpiece convey a series of religious, medical and political meanings, with the scenes of the Crucifixion and the Resurrection being thought to play an integral part of the curative process. This was because patients could be soothed by comparing their suffering to that of Christ on the cross and could console themselves by the Resurrection. The portrait of Christ in the cross is astounding in its realism and naturalism. It represents, with great pathological veracity, a tortured body in agony, a break with previous traditional representations of this event. Impressive pathological detail is also given to a figure in the Temptation scene. The entire work is suffused with religious connotations provided by the composition, the forms and the richness and sophisticated use of colors. Although Grünewald's paintings are few and the facts of his personal life sparse, it is known he married a Jewish woman, supported the peasant revolts, and was probably a Lutheran in a Catholic area. While Grünewald is considered the epitome of a German artist, the universal projections of his art have influenced physicians and the artistic productions of many painters, writers, musicians and sculptors throughout the world.