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In this essay, author Gilberto Freyre examines the various phases of the life and artistic career of the painter Lula Cardoso Ayres, establishing a nexus between his art and origins from the social elite of the state of Pernambuco. He comments on the opportunities he had as well as on his travels, possible due to the aristocratic roots of his family, which is what determined his contact with the most varied aspects of art happening at that time.

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O autor escreve sobre as fases da vida e da obra do pintor Lula Cardoso Ayres, fazendo uma associação de sua pintura à sua genealogia de pintor proveniente de família da elite pernambucana. Menciona oportunidades e viagens que se tornaram possíveis pela origem abastada, e que lhe possibilitaram o contato com as mais variadas vertentes artísticas da época, tendo o artista se destacado pela pintura mural, linguagem que Lula dominaria com primazia ao fundir arte com arquitetura.

Revert to English synopsis

In this text, the author analyzes the artistic production of the painter Lula Cardoso Ayres (1910-87) in the state of Pernambuco, the northeastern Brazilian region. The work is important due to several aspects, being mural work the dominant artistic language he used, merging art and architecture.


The Brazilian sociologist and congressman Gilberto Freyre (1900-87) was one of the intellectuals who exerted the greatest influence in 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)].

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b- Modernismo brasileiro e vanguarda européia

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Equipe Brasil: Clarissa Diniz; Gleyce Heitor (colab.)
FAPESP, Sao Paulo, Brazil
Instituto Ricardo Brennand