Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
Synopsis

In this essay, the poet and writer Manuel Bandeira writes a critical review of the Salão de 1928 exhibition organized by the Escola Nacional de Belas Artes. The review was written to declare his rejection of the academic painters and the faculty of the art department of said institution, such as Eliseo Visconti, Henrique Bernardelli, and Rodolpho Amoedo. At the same time, Bandeira praises those artists he admires for their artistic achievements and for the fact that they had not participated in the aforementioned exhibition, naming them: Tarsila do Amaral, Ismael Nery, Emiliano Di Cavalcanti, Antonio Gomide, and Cícero Dias. The author takes the opportunity to explain the form of artistic expression that was being promoted in Rio de Janeiro at the time, commending the rising prominence of painter Candido Portinari, who coincidentally was awarded a prize by the jury of the Salão exhibition.

Leia esta sinopse em português
Synopsis

O escritor e poeta Manuel Bandeira traça um perfil crítico do Salão de 1928 da Escola Nacional de Belas Artes, condenando os pintores acadêmicos e até os mestres da instituição (Eliseo Visconti, Henrique Bernardelli, Rodolpho Amoedo). O autor assinala brevemente os artistas que admira, mas que não participam deste tipo de exposição (Tarsila do Amaral, Ismael Nery, Di Cavalcanti, Antonio Gomide e Cícero Dias). O artigo é também a ocasião de Bandeira discutir as deficiências do ambiente artístico no Rio de Janeiro e de exaltar a figura emergente de Candido Portinari, premiado pelo júri do Salão.

Revert to English synopsis
Annotations

Without a doubt, Manuel Bandeira (1886–1968) is one of the main modern writers and poets of Brazil. Two of his poems, Evocação de Recife and Vou-me embora pra Passárgada, are among the most popularly known and referenced. Toward the end of the 1920s and early 1930s, he was known as an ardent defender of the “modernist” cause against a highly-politicized core group averse to any sort of artistic experimentation. With that in mind, in 1931 Bandeira supported the innovative academic management of architect Lucio Costa at the Escola Nacional de Belas Artes, and consequently to the radical changes that implied the drastic reform in the teaching of art in the country.

 

[For further reading, please refer to the ICAA digital archive and the following texts by the author: “Belas Artes” (doc. no. 1075449); “Um grande artista pernambucano: Manoel Bandeira, o desenhista” (doc. no. 1110818); “Retratos de meus pintores” (doc. no. 1111005); “A revolução e as Belas Artes” (doc. no. 1110996); “O salão dos tenentes” (doc. no. 1075614); and “Tarsila antropófaga” (doc. no. 781956)]. 

Leia este comentário crítico em português
Annotations

Manuel Bandeira é um dos principais escritores e poetas modernos brasileiros. Durante o final da década de 20 e início dos anos 30 será um dos principais defensores da causa moderna no país, como atesta seu apoio ao arquiteto Lucio Costa durante a gestão do último na Escola Nacional de Belas Artes em 1931.

 

b- Acadêmicos e modernos

Revert to English annotations
Researcher
Equipe Brasil: Guilherme Bueno
Team
FAPESP, Sao Paulo, Brazil
Location
Acervo Pessoal Guilherme Bueno