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.
After criticizing the selection made in the United States to represent Brazil at the Latin American Exhibition of Visual Arts that was held in New York during the 1939 World’s Fair, the great Brazilian polymath, Mário de Andrade continues by addressing other matters. In his comparative critique, Mário refers to the Segundo Salão exhibition that was organized by the FAP (Família Artística Paulista), a group of São Paulo artists and craftsmen. In his essay, de Andrade underscores the importance of the “São Paulo painting phenomenon” that benefited from the vital contributions made by foreign artists, among which he singles out the Lithuanian-born painter Lasar Segall.
Mário de Andrade parte de uma crítica à representação brasileira na Exposição Latino-Americana de Artes Plásticas, em Nova York, nos EUA, em 1939, para apresentar o segundo salão promovido pela Família Artística Paulista, grupo de artistas e artesãos de São Paulo(...). Descreve o "fenômeno da pintura paulista" impulsionado por artistas estrangeiros, dentre os quais o principal é Lasar Segall.
In this essay, Mário de Andrade (1893–1945) discusses one of the most important aspects of painting produced in São Paulo during the 1930s and 1940s. He is referring to the fusion of traditional themes with technical and formal knowledge that achieves a given pictorial goal. This was the defining characteristic of the work by artists who were involved with the FAP (Familia Artística Paulista) from 1937, and whose paintings were exhibited for the first time at the Hotel Esplanada in São Paulo. The members of the FAP included: Aldo Bonadei (1906–1974), Alfredo Volpi (1896–1988), Carlos Scliar (1920–2001), Clóvis Graciano (1907–1988), Ernesto De Fiori (1884–1945), Francisco Rebollo (a Spaniard), Fulvio Penacchi (1905–1992), Mario Zanini (1907–1971), Paulo Rossi Osir (1890–1959), Reneé Lefévre (1910–1996), Vittorio Gobbis (1894–1968), and Waldemar da Costa (1904–1982). Most of them were Italian by birth, and some were already members of the group known as Grupo Santa Helena. The group organized three “salões” [Salons] between 1937 and 1939.
On the subject of the beginning of the above-mentioned painting movement in the 1930s, see the essay by Mário de Andrade on “Hugo Adami” [ICAA digital archive, doc. no. 783916]. The São Paulo magazine Revista Acadêmica (1939–1940) devoted an issue to the life and work of the painter Lasar Segall (doc. no. 1110322). See also the essay by Olívio Tavares de Araújo about Volpi “Com os olhos da história” (doc. no. 1111203).
It would be difficult to sum up in just a few words the legacy and the writings of Mário de Andrade, who was a folklore researcher, cultural administrator, art critic, poet, and musicologist. In addition to his creative works, de Andrade was the driving force behind the internal structuring of SPAN (Servicio del Patrimonio Artístico Nacional), and a key figure in the group that was involved in the 1922 Semana de Arte Moderna. He was a prolific writer whose works were widely published in Brazilian periodicals and whose subjects included history, literature, music, folklore, and photography, a field he practiced himself.
During the same year in which he wrote pioneering essays on the painting of Tarsila do Amaral (doc. nos. 781921 and 781938), he also published a novel-rhapsody that became a classic of Brazilian experimental modernism: Macunaíma: o herói sem nenhum caráter (1928) [Latin American version by Héctor Olea, Macunaíma (Barcelona: Seix Barral, 1977; Barcelona: Octaedro, 2005)].
Participam do núcleo da Família Artística Paulista os seguintes artistas: Aldo Bonadei, Alfredo Volpi, Carlos Scliar, Clóvis Graciano, Ernesto De Fiori, Francisco Rebollo, Fulvio Penacchi, Mario Zanini, Paulo Rossi Osir, Reneé Lefévre, Vittorio Gobbis e Waldemar da Costa. O grupo promoveu três salões de arte entre 1937 e 1939.
b- Agrupamentos e movimentos de renovação artística (década de 30 e40)
j- A artistas imigrados e agrupamentos
n- Valorização de aspectos intrínsecos às artes plásticas