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.
In this study, Ladjane Bandeira argues that the movement for artistic independence in the state of Pernambuco in northeastern Brazil was an attempt to counter the influence of the European experience as “filtered” through São Paulo and other states in southern Brazil. Members of artists’ associations and trade unions in northeastern Brazil formed the Movimiento de los Independientes in 1933 at a time when instruction at the Escola de Belas Artes in Recife, the capital of Pernambuco, was wholly academic. Unfortunately, that movement was short lived as the artists in it tended to disperse in their individual pursuits of innovation. Bandeira discusses the frustrated attempt to form a new association of artists in 1945. At that time, a parallel group had taken shape around the regionalist poetics formulated by sociologist Gilberto Freyre. Members of that association included writers, and also painters, such as Lula Cardoso Ayres and Cícero Dias, who explored local themes. In the late forties, the Recife-based Sociedade de Arte Moderna (SAM) was restructured. At the center of that organization was sculptor Abelardo da Hora who would establish the Atelier Coletivo.
Ladjane focaliza o movimento de independência artística de Pernambuco, influenciado pela experiência européia, peneirada e adaptada em São Paulo e outros Estados. Conta que artistas reunidos em associações e sindicatos formaram o Movimento dos Independentes, em 1933, enquanto o ensino da Escola de Belas Artes era academizante. E que o movimento não teve continuidade, pela dispersão daqueles que se bateram pela renovação. Aponta nova tentativa malograda de associação, em 45. Um grupo a parte havia se formado, em torno da poética regionalista de Gilberto Freyre. Além de escritores, Lula Cardoso Ayrese e Cícero Dias exploravam temas populares. No fim da década de 40, a Sociedade de Arte Moderna do Recife vai ganhar nova estruturação, em torno do escultor Abelardo da Hora, onde terá lugar o Atelier Coletivo.
The issue of “regionalism” was formulated early on in northeastern Brazil, mostly in response to the “cosmopolitan” and “modernist” values put forth by the Semana de Arte, an event that took place in São Paulo in 1922. Gilberto Freyre (1900-87) was indisputably the first figure to assert the need for awareness of Brazilian cultural roots that predate the influx of European immigrants in southern Brazil. Freyre claimed that regional expression was evident in magazines from northeastern Brazil, such as Região, Nordeste, Província, Clã, and Bando. His “Manifesto Regionalista de 1926” [see doc. no. 1074787] rallied the political and cultural might of the region in the interest of displacing the hegemony of the south-central region of the country after three centuries of economic domination. Freyre clarifies that he in no way supports a separatist agenda, but instead advocates for the necessary development of an integrated nation whose regions are interconnected. By upholding regional cuisine and condemning its growing “loss of character,” he defends regional power. In the article “O regional e o universal na pintura de Cícero Dias” [doc. no. 1075269], Freyre describes how this powerful regional spirit operates in the work of Cícero Dias, an artist, who despite the popular local themes he addressed, produced most of his art in France.
O artigo procura esclarecer a participação - empenho e militância - dos artistas de Recife para consolidar experiências artísticas independentes, naquela cidade. Numa visada retrospectiva, Ladjane traz informações sobre os agrupamentos que tinham em vista a renovação das artes, tendo este texto sido escrito, quando a autora era presidente da Sociedade de Arte Moderna e o esforço dos artistas estava dedicado à criação do Museu de Arte Moderna do Recife.
e- Agremiações, Alianças, modelos de atuação e organização da cultura. Em apoio a arte moderna, dec 20, 30,40