The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
This essay by Gilberto Freyre is on the characteristics of the work of Francisco Brennand. The author believed that the overall approach proposed was a synthesis of tropical aesthetics, that the art as well as the sculpture by Brennand was a revelation of hidden intimacies with excessive tropical luminosity. Additionally, he felt that the work revealed autobiographical content. He deduced that the artist’s personality had a lucid “Victorian” touch showing austerity and discipline, and what Matthew Arnold referred to as “the reason that imagines.” That is what enabled Brennand to have awareness of poetic objectives and his own work, and how to fuse technique and poetry with theme as well as light and color that was local and/or regional. In Freyre’s opinion, an artist can go far beyond the regional and in a hybrid work, combine light, shape, and color of a certain region with those of another. However, the prevailing one is that with which the artist has the greatest affinity.
O autor escreve sobre particularidades da obra de Francisco Brennand, que, segundo ele, oferece uma síntese da estética dos trópicos. Freyre percebe na pintura e na escultura do artista uma serie de revelações de intimidades escondidas dentro do excesso de luz tropical. Afirma que sua obra revela ainda conteúdos autobiográficos, notando em sua personalidade algo lucidamente vitoriano, uma certa austeridade ou disciplina - correspondente ao que Matthew Arnold chamava "razão imaginativa". O que permitiria a Brennand ter consciência de sua obra e dos objetivos poéticos, de aliar técnica e poesia ao tema, à luz e cor regionais. Freyre pondera que o artista pode ir além do regional e combinar, em pintura híbrida, luz, formas e cores de uma região com as de outra, dando predominância àquela com que estiver mais empaticamente identificado.
For Gilberto Freyre, what was artistically ideal seemed to be those works that could portray his people, homeland, and the infinity of form and color that were Brazilian as well as tropical. Through several artists from the state of Pernambuco in Brazil, he was able to find these ideals in the work of Lula Cardoso Ayres, Cícero Dias, and Aluísio Magalhães, among others, in addition to Francisco Brennand, on whom this text is focused.
The Brazilian sociologist and congressman Gilberto Freyre (1900-87) was one of the intellectuals who exerted the greatest influence on his country during the first half of the twentieth century, especially regarding racial matters. Around 1933, Freyre received international recognition for his major work Casa-Grande e Senzala, published in English as The Masters and the Slaves, the first of a series of three works that included Sobrados e mucambos (The Mansions and the Shanties), 1936, and finally, Ordem e Progresso, 1957 [see in the ICAA digital archive the following texts on the subject, respectively: “Interamericanismo” (doc. no. 807911) and “A propósito da política cultural do Brasil na América” (doc. no. 807856)].
It was Freyre who led a group of writers who aligned themselves with his “Manifesto Regionalista” [see in the archive “Manifesto Regionalista de 1926” (doc. no. 1074787), his twenty-five year retrospective in “Manifesto Regionalista de 1926: vinte e cinco anos depois” (doc. no. 1110808), and fifty years later in “Regionalismo brasileiro” (doc. no. 1110810)].
O ideal artístico de Gilberto Freyre seria encontrado em obras que revelassem a gente, a terra, a multidão de formas e cores regionais, brasileiras e tropicais. O que encontrou em vários artistas de Pernambuco: Francisco Brennad, Lula Cardoso Ayres, Cícero Dias, Aluísio Magalhães etc.
b- Experiencia regional e renovação artística