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.
The artist Cícero Dias was the subject of this article that includes a combination of first-hand accounts on his artistic career. The text was originally published due to an exhibition on abstract art by the artist in Recife (Faculdade de Direito) and in Rio de Janeiro (Salão da Escola de Belas Artes), both in 1948. Among the various topics approached in the text—for example, his friendship with Pablo Picasso and his biographical profile—were his ideas on abstract art, his connection to Brazil’s landscape and natural habitat, as well as his proposals for defining Brazilian pictorial characteristics. Throughout the interview, Cícero Dias is convinced that the future of art will again lean on abstraction.
Reportagem sobre o pintor Cícero Dias, entremeado com depoimentos sobre a sua trajetória artística. O texto foi originalmente publicado por ocasião de uma exposição de pinturas abstratas do artista em Recife (na Faculdade de Direito) e no Rio de Janeiro (no Salão da Escola de Belas Artes), em 1948. Dentre os vários assuntos (sua amizade com Picasso, seu perfil biográfico etc.), estão as suas concepções sobre arte abstrata, a sua relação com a natureza e a paisagem brasileira e as definições de um caráter brasileiro da pintura. Durante a entrevista, Cícero Dias afirma ser o abstracionismo o futuro da pintura.
The artist Cícero [Dos Santos] Dias (1907-2003) emerged in Brazilian art circles between the 1920s and 1930s, with works reflecting an inherited surrealistic tendency. He relocated to Paris in the late thirties, where he lived for more than half a century. There he met Picasso with whom he established a friendship, as well as with other masters including Georges Braque, Henri Matisse and Fernand Léger. In the tumultuous years of the early 1940s, he was imprisoned briefly by the Nazis (1942), leaving to Lisbon and residing there (1943-45) where he worked in the Brazilian Embassy as an embassy official. On his return to Paris after the war, Dias joined the Groupe Éspace, known for its defense of abstract tendencies. In 1948, while still in Paris, Dias was selected to paint a mural at the Secretaria das Finanças do Estado de Pernambuco (in his hometown of Recife). In 1965, the Bienal Internacional de São Paulo devoted a special section to his work. Dias’ artistic career revolved around the research of abstract art (pioneer in Brazil), and at the same time to figuration. In 1998, he received from the French Government of Francois Mitterrand l’Ordre National du Mérite de la France award.
O pintor Cícero Dias surge na arte brasileira entre as décadas de 1920 e 1930, com um trabalho de acentos derivados do surrealismo. Mudando-se para Paris, onde viveu o restante de sua vida, a sua obra enveredou ora para uma pesquisa abstracionista (que, para o Brasil, seria pioneira), ora para a figuração.
Lucio Costa. Arte Contemporânea, 1948
h- A introdução da arte abstrata no Brasil
h- Teoria e crítica sobre abstracionismo