III Semana de Comunicação Social da UESPI de Picos: Jornalismo, Educação e Cidadania

Abstract

This article analyzes a case of conservation and restoration in the city of Teresina, Piauí, Brazil: the removal of the panel “Sinfonia de Luz” by the artist Afrânio Pessoa Castelo Branco from the wall of the building of the Companhia Energética do Piauí (Cepisa), now managed by the company Equatorial Energia. Due to the great relevance of the artist and his work to the history and culture of the city, we consider it important to research the event and the attention given to the preservation of Piauí’s movable cultural heritage. We question what factors caused the degradation of the panels, who should be responsible for the restoration, who will pay the bill, what could have been done to prevent it from reaching such a state of degradation, and what measures should be taken now. Through bibliographic research, online reports about the case on local newspaper websites, and telephone interviews, we gathered data for an analysis of the event. The research presents the history of the professional life of the artist Afrânio Pessoa Castelo Branco, a stylistic characterization of his work, as well as explanations that highlight the relevance of his production for the cultural history of the city of Teresina, studies on conservation and restoration and painting techniques, discussions and considerations on the case. We know that the effects of time slowly cause a natural aging of materials and that there are a series of other factors that degrade paintings, such as wars, vandalism, fires, floods and natural disasters, which cause damage that is difficult or impossible to repair. However, there are other factors that are no less harmful and that man can exercise some control over them, such as climate control, lighting, biological elements of degradation, insects and microorganisms, environmental pollution, framing systems, wall fixing, storage methods, packaging, transportation, which are fundamental aspects for the conservation of works of art. Therefore, man plays a fundamental role in several of the processes of change, whether by omission, lack of maintenance and control of factors, or by the countless improper interventions that have been applied to the paintings over the years. We conclude that the case, although it has taken a long time, has been treated with due attention and in accordance with the importance that the artist and his work have for the city, achieved through his history as an artist and as a teacher who has influenced and continues to influence generations of artists, proud to have in their art elements that dialogue with the style of the master. We are confident, but vigilant and expectant of a satisfactory outcome that will be able to guarantee for the next generations this significant part of our cultural legacy, through the possibility of enjoying all the beauty and richness contained in these paintings.