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                <text>Madona, de Emeric Marcier, de 1963. A pintura apresenta uma figura única em primeiro plano, ocupando quase toda a imagem. O rosto é alongado e estreito, com formato oval. Os olhos são pequenos e inclinados, voltados para baixo. O nariz é longo e reto. A boca é pequena, com traço simples. A cabeça está coberta por um manto escuro, em tons de azul e preto. No canto inferior direito, aparece uma mão com dedos longos, próxima ao rosto. O fundo é escuro e uniforme, destacando o rosto claro. A composição é simples, com forte contraste entre claro e escuro.</text>
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                <text>&lt;p style="text-align: left;"&gt;&lt;strong&gt;Técnica:&amp;nbsp;&lt;/strong&gt;bordado sobre papel&lt;strong&gt;&lt;/strong&gt;&lt;/p&gt;&#13;
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                <text>Audiodescrição da obra 'Zen', do artista Markoh, criada em 2020. Uma peça de 33 por 45 centímetros, realizada com a técnica de bordado sobre papel, emoldurada por uma fina moldura de madeira escura. A obra apresenta um fundo predominantemente escuro. Na parte superior, em preto e branco, vemos a imagem de uma pessoa sentada em posição de lótus, com as mãos repousando sobre os joelhos, palmas para cima, em um gesto de meditação. A figura, que parece ser masculina, tem cabelos curtos e encaracolados, e está com o torso nu, vestindo uma peça de roupa clara na parte inferior. Há detalhes que sugerem adornos florais na cabeça e na base onde a pessoa está sentada, que se assemelha a um leito de folhas ou tecido. Da base dessa figura meditativa, emergem fios coloridos que se transformam em um vibrante bordado. Esses fios se entrelaçam e se espalham pela parte inferior da obra, formando padrões orgânicos que lembram raízes, caules e diversas formas florais e folhagens. As cores do bordado são variadas e vivas, incluindo tons de amarelo, laranja, rosa, roxo, verde e azul claro, criando um contraste marcante e harmonioso com a imagem em preto e branco e o fundo escuro. O bordado adiciona textura e profundidade, dando vida à composição e evocando uma sensação de crescimento e conexão com a natureza. A obra transmite uma atmosfera de serenidade e introspecção, com a figura central em meditação e a explosão de cores e formas orgânicas simbolizando a vitalidade e a energia que emanam desse estado de paz.</text>
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DOU, Edição n. 184, Seção 3, pg. 170-179 , de 24/09/2014&#13;
&#13;
edital de homologação&#13;
DOU, Edição n. 167, Seção 3, pg. 119, de 01/09/2015&#13;
&#13;
&#13;
COMISSÃO DE CONCURSO&#13;
Titulares&#13;
Desembargadora Carmelita Brasil – Presidente.&#13;
&#13;
Desembargador Hermenegildo Fernandes Gonçalves.&#13;
&#13;
Desembargador Waldir Leôncio Cordeiro Lopes Júnior.&#13;
&#13;
Desembargador Jose Jacinto Costa Carvalho.&#13;
&#13;
Desembargador Humberto Adjuto Ulhôa.&#13;
&#13;
Desembargador Romeu Gonzaga Neiva.&#13;
&#13;
Desembargador Mario-Zam Belmiro Rosa.&#13;
&#13;
Juíza de Direito Marilza Neves Gebrim.&#13;
&#13;
Juiz de Direito Pedro De Araujo Yung-Tay Neto.&#13;
&#13;
Advogada Daniela Rodrigues Teixeira – Representante da OAB/DF.&#13;
&#13;
Suplentes&#13;
&#13;
Juíza de Direito Sandra Reves Vasques Tonussi&#13;
&#13;
Juíza de Direito Ana Cláudia de Oliveira Costa Barreto&#13;
&#13;
Juiz de Direito Caio Brucoli Sembongi&#13;
&#13;
Juiz de Direito Ernane Fidelis Filho&#13;
&#13;
Juiz de Direito Luis Martius Holanda Bezerra Júnior&#13;
&#13;
 &#13;
&#13;
Candidatos Aprovados &#13;
&#13;
1º Alessandro Marchio Bezerra Gerais,&#13;
&#13;
2º Ana Beatriz Brusco,&#13;
&#13;
3º Andre Gomes Alves,&#13;
&#13;
4º Armando Cesar Marques de Castro,&#13;
&#13;
5º Bianca Fernandes Pieratti,&#13;
&#13;
6º Bruna de Abreu Farber,&#13;
&#13;
7º Christiane Nascimento Ribeiro Cardoso Campos,&#13;
&#13;
8º David Doudement Campos Joaquim Pereira,&#13;
&#13;
9º Debora Cristina Santos Calaço,&#13;
&#13;
10º Eduardo da Rocha Lee,&#13;
&#13;
11º Enio Felipe da Rocha,&#13;
&#13;
12º Evandro Moreira da Silva,&#13;
&#13;
13º Felipe Costa da Fonseca Gomes,&#13;
&#13;
14º Filipe Mascarenhas Tavares,&#13;
&#13;
15º Gisele Nepomuceno Charnaux Sertã,&#13;
&#13;
16º Indiara Arruda de Almeida Serra,&#13;
&#13;
17º Jeronimo Grigoletto Goellner,&#13;
&#13;
18º Joao Gabriel Ribeiro Pereira Silva,&#13;
&#13;
19º Joel Rodrigues Chaves Neto,&#13;
&#13;
20º Lianne Pereira da Motta Pires,&#13;
&#13;
21º Luana Lopes Silva,&#13;
&#13;
22º Luciana Gomes Trindade,&#13;
&#13;
23º Maria Augusta de Albuquerque Melo Diniz,&#13;
&#13;
24º Maria Cecilia Batista Campos,&#13;
&#13;
25º Maryanne Abreu,&#13;
&#13;
26º Newton Mendes de Aragao Filho,&#13;
&#13;
27º Patricia Vasques Coelho,&#13;
&#13;
28º Paulo Marques da Silva,&#13;
&#13;
29º Raquel Mundim Moraes Oliveira Barbosa,&#13;
&#13;
30º Rogerio Faleiro Machado,&#13;
&#13;
31º Tarcisio de Moraes Souza,&#13;
&#13;
32º Thais Araujo Correia,&#13;
&#13;
33º Veronica Capocio,&#13;
&#13;
34º Vitor Hugo Aquino de Oliveira, e&#13;
&#13;
35º Wellington da Silva Medeiros.</text>
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                <text>&lt;strong&gt;Técnica&lt;/strong&gt;: acrílica sobre tela&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Medidas&lt;/strong&gt;: 100 x 160 cm&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Patrimônio&lt;/strong&gt;: 240.161</text>
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                <text>Xadrez Político, de Hosana Epaminondas Bezerra, 2015. Acrílica sobre tela, medindo 100 por 160 centímetros. A pintura é organizada como um tabuleiro de quinze casas retangulares. Predominam amarelos intensos, contrastando com áreas em vermelho, azul, turquesa, roxo, marrom e preto. Em oito casas surgem composições geométricas com círculos, semicírculos, quadrados, triângulos e linhas. No alto, destacam-se uma forma branca simétrica sobre vermelho, quatro figuras rosas sobre fundo preto e uma estrutura triangular azul-clara. Ao centro, uma forma verde cortada por uma diagonal azul e, ao lado, um círculo branco suspenso sobre um semicírculo semelhante a um sorriso. Na parte inferior, há círculos lilases interligados, dois triângulos claros verticais sobre marrom e um grande círculo amarelo-claro atravessado por faixas horizontais sobre vermelho. A obra cria um jogo visual de símbolos e posições, sugerindo estratégia, equilíbrio e disputa.</text>
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                <text>&lt;strong&gt;Técnica&lt;/strong&gt;: aquarela sobre papel&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Medidas&lt;/strong&gt;: 54x36,5 cm&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Patrimônio&lt;/strong&gt;: 225.608</text>
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                <text>Waiting for the owner, aquarela sobre papel realizada por Jorge Blues em 2011, mede 54 por 36,5 centímetros. A composição apresenta uma paisagem aquática tranquila, em tons suaves de azul, branco, amarelo e verde. Em primeiro plano, uma canoa em tons amarelados e esverdeados ocupa a parte direita da cena. Vista levemente de cima, a embarcação revela seu interior escuro, com detalhes em vermelho e azul. A proa aponta para a frente, enquanto um reflexo suave se espalha sobre a água calma. No canto inferior esquerdo, pequenas pedras claras emergem da superfície azulada. Ao fundo, uma segunda canoa aparece menor e mais distante, reforçando a sensação de profundidade. Uma estreita faixa de terra recorta o horizonte, separando a água de um céu claro com pinceladas delicadas. A leveza da aquarela cria uma atmosfera silenciosa e contemplativa, sugerindo embarcações imóveis à espera de seus proprietários.</text>
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                <text>&lt;strong&gt;Técnica&lt;/strong&gt;: técnica mista sobre papelão&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Medidas&lt;/strong&gt;: 90 x 50 cm&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Patrimônio&lt;/strong&gt;: 254.259</text>
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                <text>Vestígios das cores, de Hermano Ferro, é uma obra de técnica mista sobre papelão de 2018, medindo 90 por 50 centímetros. A obra, em formato retangular vertical, apresenta uma composição abstrata e vibrante, dominada por uma explosão de cores e texturas. Pinceladas largas e gestuais em tons de laranja, vermelho, azul-turquesa, branco e preto se sobrepõem e se entrelaçam, criando uma sensação de profundidade e movimento. Há áreas de cor mais densas e outras mais translúcidas, revelando camadas subjacentes. Linhas finas e grafismos em preto e branco adicionam detalhes e complexidade à composição, sugerindo formas e contornos indefinidos. A textura do papelão é visível em algumas partes, conferindo um aspecto rústico e orgânico à obra. A iluminação é dinâmica, realçando os contrastes e a energia das cores. A pintura transmite uma sensação de vitalidade, caos organizado e a efemeridade das memórias e emoções, convidando o observador a uma experiência visual intensa e subjetiva.</text>
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                <text>Pintura intitulada “Vegetação da Serra de Guaramiranga”, da artista Heloísa Juaçaba, obra sem data, realizada em óleo sobre tela, medindo aproximadamente 55 por 100 centímetros, apresentada em moldura de madeira clara. A composição vertical mostra um cenário de mata tropical estilizada. No centro e à esquerda, dois troncos altos e sinuosos, com textura marcada em marrom escuro, se elevam em direção ao topo. De suas copas brotam folhas longas e curvas em tons intensos de verde, laranja e amarelo, criando um efeito de movimento. Na parte inferior, pequenos ramos com folhas alaranjadas se destacam contra o fundo. À direita e à esquerda, formas arredondadas e sobrepostas, em verdes variando do escuro ao acinzentado, simulam plantas densas ou cactáceas, organizadas como blocos. No canto inferior direito, folhas largas e bem definidas em verde vibrante reforçam a diversidade vegetal. O fundo em tom quente, próximo ao dourado, ilumina toda a cena, destacando as cores saturadas. A pintura apresenta estilo decorativo e gráfico, com contornos definidos e repetição de padrões, evocando a exuberância da vegetação serrana.</text>
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                <text>Obra intitulada STF, do artista Pedro Roberto da Silva Nunes, produzida em óleo sobre tela, sem data, com dimensões de 130 por 75 centímetros. A imagem apresenta uma representação do edifício do Supremo Tribunal Federal, em Brasília. Em primeiro plano, destaca-se uma figura humana estilizada, possivelmente inspirada na escultura da Justiça, posicionada de forma serena e contemplativa. Seus contornos são marcados e simplificados, transmitindo solidez e introspecção. Ao fundo, observa-se o edifício modernista com linhas horizontais e estrutura sustentada por colunas finas, característico da arquitetura de Brasília. A composição utiliza tons de azul, cinza e terrosos, criando uma atmosfera sóbria e institucional. A iluminação é suave e uniforme, reforçando a sensação de equilíbrio e estabilidade. A cena sugere a relação entre a figura simbólica da Justiça e o espaço físico onde ela se realiza, evocando autoridade, silêncio e reflexão.</text>
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                <text>Sobre o Traçado n 21, de Rita Brasil, é uma pintura a óleo sobre tela de 2018, medindo 100 por 160 centímetros. A obra, em formato retangular horizontal, apresenta uma composição abstrata vibrante, dividida verticalmente em duas seções. À esquerda, predominam tons de laranja, amarelo e azul, com formas orgânicas que se assemelham a folhagens. À direita, a paleta de cores se concentra em tons de vermelho e verde, com padrões semelhantes, mas com intensidade diferente. Uma linha sinuosa em tons de azul e roxo atravessa o centro, conectando as duas metades e adicionando fluidez. As pinceladas são expressivas e texturizadas, criando movimento e profundidade. A iluminação é difusa, realçando a riqueza das cores e a complexidade da composição. A pintura transmite energia, vitalidade e a interconexão entre diferentes elementos, convidando o observador a uma jornada visual intensa.</text>
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                <text>Olá! Bem-vindos à audiodescrição da obra 'Série Corpo e Alma', da artista Norma Stela. Esta é uma pintura que nos transporta para uma paisagem noturna ou crepuscular, dominada por tons escuros e terrosos, com toques de amarelo suave. No centro da composição, três árvores de copas densas e escuras se destacam, criando uma silhueta imponente. À direita delas, duas figuras humanas, pequenas e estilizadas, caminham por um caminho que parece ser iluminado por uma luz amarelada, quase mística. Ao fundo, à esquerda, podemos vislumbrar as silhuetas de construções, possivelmente casas, com pontos de luz sugerindo janelas acesas, adicionando um toque de vida e mistério à cena. O céu, carregado e escuro, apresenta uma textura esfumaçada que evoca a sensação de névoa ou uma noite nublada, contribuindo para a atmosfera introspectiva da obra. A técnica utilizada, embora não especificada, sugere um desenho, talvez em carvão ou pastel seco, devido ao seu efeito granulado e às transições suaves entre as sombras, que conferem profundidade e delicadeza à imagem. Com medidas de 33 por 27,5 centímetros, 'Série Corpo e Alma' é uma obra que convida à contemplação, transmitindo uma sensação de quietude e introspecção. Seu patrimônio é o número 004.036. Uma verdadeira joia que nos faz refletir sobre a conexão entre o corpo e a alma em meio à natureza e à noite.</text>
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                <text>Rosa Vermelha, uma pintura vibrante da artista Cecília Prudente, criada em dois mil e dezessete. Esta obra, com cinquenta por cinquenta centímetros, é uma fusão de tinta acrílica e óleo, resultando em uma textura rica e cores intensas. No centro da tela, uma única rosa vermelha se destaca, preenchendo quase todo o espaço. Suas pétalas, em diversos tons de vermelho, do escarlate profundo ao carmesim brilhante, se desdobram em camadas, criando uma sensação de profundidade e volume. A luz parece incidir suavemente sobre as bordas das pétalas, realçando suas curvas e aveludado. O miolo da rosa, mais escuro e denso, convida o olhar a se perder em suas profundezas, enquanto as pétalas externas se abrem graciosamente. O fundo da pintura é um tom escuro e uniforme, quase preto, que serve para acentuar ainda mais a intensidade e a paixão da rosa. A técnica mista de acrílica e óleo confere à obra uma qualidade tátil, onde se pode quase sentir a suavidade das pétalas. A composição é simples, mas poderosa, focando na beleza singular da flor. A obra transmite uma sensação de amor, beleza e intensidade, capturando a essência atemporal da rosa vermelha.</text>
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                <text>Olá! Bem-vindos à audiodescrição da obra "Ronda", da artista Mirele Brant. Esta é uma pintura a óleo sobre tela, medindo 83 por 96 centímetros, com o patrimônio número 225.076. A obra nos apresenta uma figura feminina nua, deitada horizontalmente em uma composição onírica. Seus olhos estão fechados, sugerindo um sono profundo ou meditação. Longos cabelos pretos e ondulados se espalham fluidamente pela tela, enquanto um adorno floral em tons de amarelo e laranja, como girassóis, enfeita sua cabeça. O braço direito da mulher pende suavemente sobre a borda de uma superfície terrosa e alaranjada que ocupa a parte inferior da tela. No canto superior esquerdo, contra um céu azul claro, quatro pássaros pretos voam em silhueta, adicionando um toque de liberdade à cena. A paleta de cores suaves, com o azul do céu, o tom de pele claro da figura e o laranja terroso, cria uma atmosfera de paz e conexão com a natureza. "Ronda" é uma obra que convida à contemplação e à introspecção, transmitindo uma sensação de entrega e serenidade.</text>
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                <text>Fotografia oficial, em preto e branco, posição retrato. Rosto e busto do Desembargador Romeu Gonzaga Neiva, homem de cabelos grisalhos e sobrancelhas grossas. Veste toga de desembargador.</text>
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                <text>Fotografia oficial, em preto e branco, posição retrato. Rosto e busto do Desembargador Romão Cícero de Oliveira, em posição frontal. Homem de cabelos e barba brancos, usa óculos com armação preta, veste toga de gala de desembargador.</text>
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                <text>&lt;strong&gt;Técnica&lt;/strong&gt;:&amp;nbsp;Arte Têxtil de 12 Pontas&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Materiais Utilizados&lt;/strong&gt;:&amp;nbsp;Linhas Diversas e Madeira&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Dimensão&lt;/strong&gt;:&amp;nbsp;55cm de diâmetro&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Patrimônio&lt;/strong&gt;:&amp;nbsp;274.114</text>
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                <text>Esta é a obra 'Roda Viva', uma arte têxtil de 12 pontas criada por Marcos Félix em 2022. Com 55 centímetros de diâmetro, a peça é composta por diversas linhas e madeira, apresentando uma complexa mandala em tons de amarelo, cinza e cinza escuro, emoldurada por um fundo marrom profundo. No centro, um pequeno hexágono em cinza escuro e branco dá início a uma série de padrões geométricos que se expandem. Camadas de linhas amarelas vibrantes e cinzas claras se entrelaçam, formando estrelas e polígonos que se sobrepõem, criando uma sensação de profundidade e movimento. As doze pontas da estrutura externa são claramente definidas por linhas amarelas e cinzas mais escuras, que se projetam para fora, lembrando raios de uma roda. A técnica de arte têxtil confere à obra uma textura rica e um visual tridimensional, convidando o observador a explorar seus detalhes e a harmonia de suas formas.</text>
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                <text>&lt;strong&gt;Técnica&lt;/strong&gt;: óleo sobre tela&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Medidas&lt;/strong&gt;: 90 x 63 cm&lt;br /&gt;&lt;br /&gt;&lt;strong&gt;Patrimônio&lt;/strong&gt;: 000.015</text>
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                <text>Pintura em formato vertical, com cerca de noventa centímetros de altura por sessenta e três centímetros de largura. A obra apresenta um retrato em meio corpo de JK posicionada levemente de perfil, voltada para o lado esquerdo da composição. A figura ocupa a maior parte da tela. O rosto está inclinado levemente para baixo, com olhar direcionado para longe, fora do campo visual do espectador. Os traços faciais são simplificados, com contornos definidos e áreas de sombra que modelam o volume. JK veste um traje formal composto por paletó em tom avermelhado escuro, camisa clara e gravata em tonalidade mais escura, criando contraste. O corpo se inclina em diagonal, ocupando o canto inferior direito da composição. O fundo é dividido em duas áreas de cor lisa, sem detalhes: à esquerda, um azul suave; à direita, um tom claro próximo ao branco ou bege. Essa divisão cria um contraste cromático que destaca a figura principal. A pincelada é visível, com aplicação de tinta característica da pintura a óleo. As cores são sóbrias, com predominância de tons quentes no vestuário e frios no fundo.</text>
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                <text>Retrato de JK</text>
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Emiliano Augusto Cavalcanti de Albuquerque e Melo (Rio de Janeiro, Rio de Janeiro, 1897 – idem, 1976). Pintor, ilustrador, caricaturista, gravador, muralista, desenhista, jornalista, escritor e cenógrafo. Um dos expoentes da pintura brasileira, Di Cavalcanti (nome escolhido por ele para assinar seus quadros) destaca-se por retratar figuras populares em sua busca constante por constituir uma arte nacional.&#13;
Fonte: https://enciclopedia.itaucultural.org.br/pessoa971/di-cavalcanti</text>
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                <text>Produção: 1961</text>
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                <text>Incorporação:</text>
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                <text>Técnica: óleo sobre tela&#13;
Dimensão: 90 x 63 cm</text>
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            <description>The nature or genre of the resource</description>
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                <text>Quadro retangular vertical.  A obra é uma retrato de Juscelino Kubitschek. A pintura compõe-se de fundo em cores claras com tons azuis e marfim e uma representação figurativa de um homem à esquerda olhando para o canto inferior à direita. O homem tem cabelos escuros, usa terno preto, camisa branca e gravata listrada de preto e vermelho. Esta pintura foi a primeira obra de arte a integrar o acervo do TJDFT.</text>
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                <text>Acervo Artístico TJDFT&#13;
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                <text>Inventário: 001&#13;
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                <text>Patrimônio:</text>
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            <name>Relation</name>
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                <text>Estado de conservação: &#13;
A obra está em bom estado de conservação, não apresenta manchas na camada cromática, no suporte, nem na moldura. Também não há craqueados e nem descoloração na camada pictórica e de proteção. Não há rasgos e nem desgastes no suporte. Apenas, observou-se pequeno acúmulo de substâncias exteriores à peça (poeira), que pode ser resolvida com uma limpeza com pincel macio.</text>
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&#13;
Tipo de Condição - Controle de incidência de luz: &#13;
A obra deve ser mantida sem a incidência de luz natural, pois esta causa deterioração da obra por fotoxidação de pigmentos, o que acelera a perda de cor por desbotamento e manchas.&#13;
Tipo de Condição - Controle de umidade relativa:&#13;
A umidade relativa do ar e suas oscilações devem ser controladas. Com isso, evita-se o surgimento de ondulações no suporte que é higroscópico. A umidade também contribui para o aparecimento de microrganismos, acelerando a deterioração do objeto.&#13;
Tipo de Condição - Controle de temperaturas :&#13;
A temperatura deve ser controlada, sem a ocorrência de oscilações, pois isso evita a dilatação dos materiais e as rachaduras nas superfícies pictóricas.&#13;
&#13;
Manutenção do ambiente limpo:&#13;
A limpezas no ambiente evita o aparecimento de microrganismos e insetos, poeira e fuligem.&#13;
&#13;
Limpeza da obra:&#13;
Recomenda-se limpeza regular da obra com uso de uma trincha ou pincel de cerdas macias. Para a higienização, assenta-se a pintura sobre uma mesa e procede-se a higienização. Nesta limpeza deve-se observar se há resíduos de sujidades, excrementos de insetos ou presença de pragas como xilófagos. &#13;
&#13;
Transporte: &#13;
Envolver a obra com papel ph neutro;&#13;
Acima do papel, envolver com plástico bolha;&#13;
Armazenar em caixa própria para transporte;&#13;
Transportar a obra com cuidado, evitando atritos.</text>
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                <text>Origem: doação</text>
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                <text>Localização: Gabinete da Presidência</text>
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            <description>A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible.</description>
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                <text>https://enciclopedia.itaucultural.org.br/pessoa971/di-cavalcanti</text>
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                <text>http://www.dicavalcanti.com.br/</text>
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                <text>"Retirantes", uma obra impactante do artista Carl Brussel, criada em mil novecentos e oitenta e seis. Esta pintura, realizada em óleo sobre tela e medindo noventa e dois por setenta e três centímetros, retrata a dura realidade da migração. A composição apresenta figuras humanas estilizadas, com formas angulares e alongadas, que transmitem uma sensação de movimento e cansaço. No primeiro plano, uma mulher com um chapéu grande e branco na cabeça, e um vestido em tons de azul acinzentado, caminha carregando uma cesta. Seu olhar é direcionado para frente, mas sua postura sugere resignação. Ao seu lado e um pouco atrás, outras figuras, também estilizadas, a acompanham, formando um grupo coeso. As cores predominantes são tons terrosos, cinzas, azuis pálidos e brancos, que evocam a paisagem árida e a poeira do caminho. A técnica de óleo sobre tela confere à obra uma textura rica e uma profundidade que acentua a dramaticidade da cena. O fundo da pintura é composto por planos geométricos e cores claras, que sugerem um horizonte distante e a vastidão do percurso. A luz incide de forma difusa, criando um ambiente de melancolia e esperança. A obra "Retirantes" transmite uma sensação de resiliência e a força do espírito humano diante das adversidades. É um tributo àqueles que buscam um novo começo, carregando consigo a história e a esperança de um futuro melhor.</text>
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                <text>Núcleo de Apoio à Preservação da Memória Institucional - NUAMI</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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Técnica: Acrílico sobre lona&#13;
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                <text>Audiodescrição da obra "Poder", de Loreni Schenkel. A obra é uma pintura abstrata vertical, em acrílica, grafite e verniz sobre tela, medindo 154 por 70 centímetros. Patrimônio número 237.581. A data de criação não está registrada. A composição apresenta manchas difusas em tons de roxo escuro, lilás, cinza e branco, com toques de amarelo dourado. As áreas mais escuras concentram-se nas bordas superior e inferior, enquanto o centro revela uma região mais clara, com branco e lilás suave, evocando luz emergindo entre sombras. Os pontos dourados adicionam vibração e contraste. A transição entre as cores é fluida, sugerindo formações nebulosas ou paisagens geológicas. A textura da superfície, reforçada pelo grafite e pelo verniz, transmite profundidade e movimento.</text>
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                <text>Fotografia em preto e branco do Palácio da Justiça do TJDFT. Ao fundo, na parte superior à esquerda, há a vista parcial do céu e, na parte superior à direita, o edifício de concreto. À frente, há nove homens que são magistrados do Tribunal. Eles usam roupas sociais - ternos e gravatas. O Desembargador José Júlio Leal Fagundes, ao centro, planta uma árvore – o ipê, que embelezaria o local. Os outros magistrados ao redor apreciam o plantio.</text>
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                <text>Plantio do Ipê no início das obras para construção do Palácio da Justiça.</text>
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                <text>Audiodescrição da obra "Pássaros de Primavera - Releitura", de Ju Pimenta. A obra, intitulada "Pássaros de Primavera - Releitura", é uma pintura a óleo sobre tela da artista Ju Pimenta, sem data de criação registrada. Mede 32 por 40 centímetros, com patrimônio número 235.405. A pintura exibe dois pássaros coloridos em um galho florido. À esquerda, um pássaro azul vibrante com peito amarelo, virado para a direita. À direita, um pássaro amarelo com detalhes azuis na cabeça e nas asas, virado para a esquerda, olhando para o primeiro. Ambos estão em um galho marrom com folhas verdes e delicadas flores rosadas em plena floração, sugerindo a primavera. O fundo é um céu claro em tons suaves de azul e branco, criando uma atmosfera serena e luminosa. A pincelada é visível, conferindo um estilo artístico e expressivo à obra. A assinatura "Ju Pimenta" aparece discretamente no canto inferior direito da pintura.</text>
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                <text>&lt;p style="text-align: left;"&gt;&lt;strong&gt;Técnica:&amp;nbsp;&lt;/strong&gt;gravura matriz em metal&lt;/p&gt;&#13;
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                <text>Pássaros, uma gravura em metal de Anna Letycia, criada em 1960. A obra, medindo 35 por 50 centímetros, apresenta um contraste marcante em tons de cinza, preto e branco. No centro e à esquerda, formas brancas estilizadas emergem, sugerindo pássaros em pleno voo ou em movimento dinâmico. Seus contornos são irregulares e preenchidos com uma textura sutil, que lhes confere leveza. Na parte inferior e nas laterais, massas escuras dominam a composição, lembrando folhagens densas ou sombras profundas. Traços verticais e orgânicos criam uma sensação de vegetação exuberante, emoldurando as figuras aladas. O fundo da gravura é preenchido por diferentes tonalidades de cinza, evocando um céu nublado ou uma atmosfera densa, que acentua o mistério da cena. A técnica de gravura em metal confere à obra uma riqueza de detalhes e texturas, realçando o jogo de luz e sombra. A obra transmite uma sensação de liberdade e movimento, com a interação entre as formas claras dos pássaros e as escuras da natureza. Uma representação expressiva da artista, onde a simplicidade das formas revela uma profunda expressividade.</text>
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                <text>Passagem, de Cristina Pessoa, realizada em 2006 em pva sobre tela e medindo 180 por 110 centímetros, apresenta uma composição abstrata formada por retângulos concêntricos, organizados em camadas dentro de uma superfície horizontal. Ao centro, há um retângulo amplo em tom cinza claro, cercado por uma sequência de molduras retangulares que se expandem para fora. Essas molduras alternam cores neutras: bege, branco, preto e diferentes variações de cinza. As bordas são regulares, mas levemente onduladas, criando a sensação de movimento suave, como se as camadas respirassem ou pulsassem. A repetição das formas e o contraste entre claro e escuro conduzem o olhar para o interior da pintura, sugerindo profundidade e atravessamento, como um caminho ou passagem que se abre em planos sucessivos. O conjunto transmite equilíbrio e ritmo, explorando a relação entre forma, cor e espaço de maneira simples e meditativa.</text>
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                <text>Esta é uma pintura em estilo arte popular, vibrante e colorida, que retrata uma cena doméstica e rural dividida em duas partes. A obra, de formato retangular horizontal, é emoldurada por uma fina borda de madeira escura. À esquerda, sob um céu azul intenso com nuvens brancas esparsas e um sol amarelo-alaranjado proeminente, vemos um cenário ao ar livre. Uma palmeira esguia se inclina suavemente para a esquerda, e abaixo dela, uma pequena figura sentada. Mais ao centro, um varal estendido com roupas coloridas secando ao vento: peças em vermelho, branco, azul e verde. Próximo ao varal, uma figura de costas, vestindo saia e blusa, e um cachorro de pelagem marrom-clara observam a cena. À direita, a fachada de uma casa em tons de laranja-terra ocupa a maior parte do espaço. Uma janela com moldura verde exibe uma mulher de cabelos escuros e blusa vermelha, olhando para fora. Acima da janela, uma lâmpada pendurada. Ao lado, uma porta verde, entreaberta, revela um vislumbre do interior, onde um vestido vermelho vibrante está pendurado. Em frente à casa, uma bicicleta verde com um pequeno carrinho acoplado. No carrinho, um letreiro branco com a inscrição em preto: "Pamonha da Mariana - Gostosa e Fresquinha". Um gato branco e um cachorro marrom-claro estão próximos à bicicleta. No canto inferior direito da parede, a assinatura do artista, "KELL 2017", é visível. Um arbusto verde com pequenos pontos vermelhos cresce verticalmente na extremidade direita da pintura.</text>
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Transferência da Corte Portuguesa para o Brasil&#13;
Tribunal superior de última instância&#13;
História da Justiça da Capital</text>
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