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 article, the historian Sérgio Buarque de Hollanda analyzes the various modern art groups that have emerged in Brazil. He notes the differences now compared to what was going on ten years earlier, when a point of view was developing that “in a very short period of time” came to influence the Brazilian art being produced at a national level. The historian discusses the men who idealized constructive art in spite of how it affected the freedom that existed in a new country with no established traditions, like Brazil. According to Buarque de Hollanda, “Brazilian” art should not be subject to externally imposed rules or preconceived ideas. In other words, the intellectuals who resisted the “constructivist ideologies” are Oswald de Andrade, Prudente de Moraes Neto, Couto de Barros, and Antonio de Alcântara Machado. The article ends with a review of that early phase of Brazilian modernism, and refers to the three “most beautiful” books from that period: Losango caqui [Khaki Colored Rhombus] by Mário de Andrade, Pau Brasil [Brazilwood] by Oswald de Andrade, and Um homem na multidão [A Man Among Many] by Ribeiro Couto.
Tomada de posição do historiador Sérgio Buarque de Hollanda frente aos diferentes grupos que se formam sob a égide da arte moderna. O autor constata a diferença entre o Brasil daquele momento e o de 10 anos antes para identificar, nesse intervalo de tempo, a construção de um pensamento que deixará irromper, "em pouco tempo", uma arte de expressão nacional. Sérgio Buarque critica os homens que idealizam a construção, em detrimento da liberdade existente em um país novo e sem tradições oficiais como o Brasil.
This document is part of a broader discussion on the role of art in the development of a national art movement; in particular, Brazilian modernism. Written four years after the Semana de Arte Moderna event held in São Paulo in 1922, which launched the movement, this text sheds some light on the author’s links to modernism and identifies some of the key people involved. The author, Sérgio Buarque de Hollanda (1902–84) was invited by both Mário and Oswald de Andrade to take part in the famous Semana. At the time when he was writing this article, Buarque de Hollanda had just graduated with a law degree and had started working at the O Progresso newspaper. He had also just started Estética magazine with Prudente de Morais Neto whom he later brought into the modernist movement.
This article was published in the Revista do Brasil, the magazine that at that time was directed by the journalist Assis Chateaubriand, and that was going through its “modernist phase,” publishing ten weekly issues between 1926 and 1927. That magazine’s directors included Pandiá Calógeras, Afrânio Peixoto, Alfredo Pujol, and Plinio Barreto. Rodrigo M. F. de Andrade was the Editor-in-Chief.
Para Buarque de Hollanda, a arte dita brasileira não deve se sujeitar a regras e ideais prefixados. Em sua opinião, os intelectuais resistentes às "ideologias do construtivismo" são Oswald de Andrade, Prudente de Moraes Neto, Couto de Barros e Antonio de Alcântara Machado. O artigo termina com um balanço dessa primeira fase do modernismo e a indicação dos três livros "mais belos" do período: "Losango caqui" de Mário de Andrade, "Pau Brasil" de Oswald de Andrade e "Um homem na multidão" de Ribeiro Couto.Sob a presidência de Assis Chateaubriand, a "Revista do Brasil" implementa sua "fase modernista" com duração de 10 edições, numa periodicidade quinzenal, entre 1926 e 1927. Entre os diretores da publicação neste período estão Pandiá Calogeras, Afrânio Peixoto, Alfredo Pujol e Plinio Barreto. A chefia de redação fica a cargo de Rodrigo M. F. de Andrade.
b- Modernismo: arte e ideário