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.
This anonymous article reports on the painter Lasar Segall’s second trip to Brazil, when he settled in São Paulo. Segall is described as “a confirmed expressionist” and an “ardent supporter of the modern art movement” which, according to the anonymous author, is “a logical trend for the spirit to pursue.” The writer adds: “The result appears deformed because it conflicts with the reality of things (…), taking from them nothing but the elements required to express what the artist experiences and feels.”
Este artigo, sem assinatura, registra a segunda vinda de Lasar Segall ao Brasil, para fixar residência em São Paulo (sua primeira vinda ocorreu em 1912 para realizar mostras em São Paulo e Campinas). O artista é apresentado como "decidido expressionista" e "fervoroso defensor da nova tendência da arte moderna", que o autor considera uma "tendência lógica do espírito": "Parece uma deformação porque está contra a realidade das coisas (...) e apenas tira delas os elementos necessários para exprimir o que o artista viveu e sentiu".
The Lithuanian painter, printmaker, and sculptor Lasar Segall (1891–1957) was strongly influenced by movements such as impressionism, expressionism, and modernism. His works often portrayed human suffering, war, persecution, and prostitution. On his first visit to Brazil, in 1912, he exhibited his work in São Paulo and in Campinas. He returned in January 1924, when he arrived in Puerto de Santos with his wife, Margarete, and very shortly afterward came in contact with modernist artists in what became his new home. The modernists regularly gathered there, and though Segall continued to live and exhibit in Brazil he also traveled to Europe on occasion, where he also showed his work. He became a Brazilian citizen in 1927 and spent the rest of his life there. His experience in Brazil influenced his main subject matter, and he portrayed the white-slave trade in the red light district of Rio de Janeiro in paintings that were increasingly Cubist in style. His work became controversial as he illustrated sex workers and the suffering of the people.
This article appeared in Novíssima, a magazine devoted to literature and politics (as seen from a nationalist perspective) that was distributed in Rio de Janeiro and São Paulo in 1923–24. It was directed by the journalist, poet, and literary critic Cassiano Ricardo (1895–1974) and the journalist, attorney, writer, and poet Francisco Pati (1898–1970).
"Novíssima" é uma revista literária e política, de ideologia nacionalista, que circulou em São Paulo e no Rio de Janeiro, entre 1923 e 1924, sob a direção de Cassiano Ricardo e Francisco Pati.
b- Emergência expressionista
j- Expatriados voluntários