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In this essay, the Brazilian sociologist Gilberto Freyre reflects on the interest generated by things resulting from the inverse reason to their proximity. His inquiry led to the basic question of why had the northeastern region of Brazil not produced an artist that was fundamentally “ours” yet? The author felt that “life in that region of the country had not been duly examined, only superficially probed, leaving its most intimate values untouched.” Freyre mentioned various artists of the colonial period and commented on nineteenth-century historical art, examining the contributions of the artists, not only Brazilian, who participated in the development of art in Brazil. At the core of the artistic creations that were being produced in the state of Pernambuco, the author pointed to those artists capable of assembling the physical elements of the landscape with the local human elements, which was something that was similarly done in the seventeenth century by the Flemish painter Franz Post. Freyre was convinced of the regional expression, in an intensely specialized manner, by the artist Telles Jr., an artist from the “Mata” region, as well as the emergence of a generational style of art during the 1920s and 1930s by the artists Fedora do Rego Monteiro, and her younger brothers, Joaquim and Vicente do Rego Monteiro, Joaquim Cardoso, and the poet Manoel Bandeira, among others.
O sociólogo Gilberto Freire reflete sobre o interesse das coisas na razão inversa de sua proximidade, e indaga porque o nordeste brasileiro ainda não produziu um pintor verdadeiramente "nosso", entendendo que "a vida do Nordeste Brasileiro se acha apenas arranhada na crosta, e que seus valores íntimos continuam virgens". O autor faz menção aos artistas do período colonial e à pintura histórica do século XIX e examina contribuições de artistas brasileiros e estrangeiros ao desenvolvimento artístico do país. Busca, entre pintores pernambucanos, aqueles capazes de unir elementos físicos da paisagem a elementos humanos locais, como o teria feito o pintor holandês Franz Post, no século XVII. Reconhece o senso regional intensamente especializado em Telles Jr., pintor da mata, e o surgimento de uma nova geração nos anos de 1920-30, com Fedora do Rego Monteiro, Joaquim e Vicente do Rego Monteiro, Joaquim Cardoso e Manoel Bandeira, entre outros.
In this essay, Gilberto Freyre predicted innumerable aspects of his “Manifesto Regionalista de 1926,” thereby pointing out the importance of the regional element that is articulated with the universal. The essay is an incentive for artists to assume these stances prior to artistic production.
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 issues. 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)].
Neste ensaio, Gilberto Freyre antecipa inúmeros aspectos de seu "Manifesto Regionalista de 1926", apontando a importância de articular elementos regionais e universais, incentivando os artistas a assumirem tal posicionamento em suas obras.
b- Experiencia regional e renovação artística