Quem ama o feio, bonito lhe parece: o feio enquanto categoria estética representado nas xilogravuras de Oswaldo Goeldi

ABSTRACT: This work aims to develop a study on the woodcuts of Oswaldo Goeldi, engraver, draughtsman, ilustrator and promoter of this artistic language in Brazil, in the first half of the twentieth century, identifying them with Expressionists characteristics, and as a part of the new aesthetic Paradigm of the twentieth century-artistic ugliness – present in the avant-garde movements at the beginning of the twentieth century. To do so, it will be necessary to take an approach about the ugliness recognizing it as an aesthetic category, based on the aesthetic of the ugly of Rosenkranz. The expressionistic features agree with the classic aesthetic, but this new artistic content present in the artistic works are parto of the aesthetic ugliness of the artistic movements of the twentieth century. Subsequently, a study on the expressionism was presented by discoursing about the expressionist work of art, seeking in the theory of the signs by Peirce justification for the understanding of the expressionist communication. From this description, it was possible to do a more in depth study on the Germany Expressionism in its historical context. Two groups that stood ou were: Die Brucke and Der Blaue Reiter and about German woodcut as a method of communication and expression. Finally, the Expressionism was presented in the Brazilian artistic context, recognizing Oswaldo Goeldi’s woodcuts, part of this artistic movement and analyzing two of his works of art, based on the model of analysis built by Erwin Panofsky.