London – 2018, New Yorker Ran made a review called “First York’s first Brazilian Modernist”, though misleading. Tarsile was not amaral a Brazil’s first modernist (How would this moniker will give?), Rather than the first presented in New Yorkers, thanks to the show of the Museum Museum of Modern Art.
As for Brazilian modernism, Tarsila, as they call Brazil, is an excellent opener. His work crystallizes the characteristics of the movement: the European and 20s European art movements, figuration and abstraction to local traditions and motifs, especially rural folklore and afro-brazilian culture. But, no need to say, in front of his singular career, the movement was really varied.
Brazil! Brazil!: Birth of modernism The Royal Academy of Art (RA) helps bridge this gap. Fabienne Eggelhöfer, the main director of São Paul Paul Klee, the General Manager of São Paulo and Roberta Saraiva, presents more than 130 works in the 1910s in the 1910s. Of these, in the modern opening of São Paulo, in 1922; The other five were saved from the artist among the other five, were outsiders of the circle of intellectual and progressive artists.
Among the first group, it is the intrigue, perhaps, Lasar Segall was born in Lithuania in the same room with another modernist trained modernist trained in Berlin. Malfatti’s career did not shine as bright as his contemporary; In fact, when the Brazilian Lobato Monteiro did not accompany his early work. But in RA, he can estimate the brave portraits and landscapes, as well as the “male” male male), in which the male is a rugged trunk, who encapsulate the love of modernists in the flora of their country.
The exhibition catalog attempt was the turn of the 1930s dossier, within the Conservative Government of Brazil Getúlio Vargas, the Social Refurba program confronted the new Roosevelt agreement. The works of this period transmit modern concerns, such as fast industrialization and misery of migrant rural turns and masy from slavery to afforded. The painting of the tarsil “second class” (1933), Ashen’s train passengers represent such drought and is an excellent example of northeastern poverty-east. But artists did not have Candido Portinari “migrants” (1944) (1944).
The exhibition continues and visitors leave more formal experiments to suggest, expressiveness or cubism in European movements and a more pictorial but exciting landscape. Three series paintings Indigenous composition (1922) Vicente do Regoiro is indifferent to modernist Vanguard.
The similar point applies to Brazil Popular art, Includes many folk traditions. Alfredo Volpi, a self-taught artist who took its colorful abstractions and well-known street decorations after the bright façades, appears in a room next to a class car, Djanira is Motta and Silva. The painting of the latter, “Market Scene” (1960), a black female seller that bears a traditional Bahian dress, still wearing three white men and sunny hats.
Brazil! Brazil!The last room is a climax and a cliff. Here, the work of the Afro-Brazilian artist Rubem Valentim are hanging in front of Geraldo de Barros photos and paintings. Individually, once again, the Modernism Brazilian emphasizes the message as domestic as domestic. Totemic wood sculptures in Valentim – Title of “emblematic object 1” (1969) – form from symbols that work in religious objects and ritual objects. His painting “name” (1962), for example, combines his admiration at the work of Paul Klee, simple geometries. In front of the photos of Barros, in view of those who catch an urban environment in an abstract way, it is clear how the operation of this movement spread the path of the Brazilian art. Concrete art, Valentim made of sharp geometry of synthesis and the barriers.
Brazil! Brazil! Birth of modernism Royal Academy of Arts (Burlington House, Piccadilly, London) continues, United Kingdom) until April 21st. The exhibition organized Paul Klee Zentrum, Bern, in collaboration with the Royal Academy of London. Exhibition Fabienne Eggelhöfer, Roberta Saraiva Coutinho and Adrian Locke had a commissioner.
