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 writer and art critic Mário de Andrade makes an extremely interesting comment about printmaking, noting that prints are not among “collectors’ favorite items.” In his opinion, this is why Brazilian art production suffers, a situation that is largely due to the lack of modern printmakers. That said, he mentions Oswaldo Goeldi, who has just published an album, Dez gravuras em madeira [Ten Woodcuts], with an introduction by the poet Manuel Bandeira. The introduction to this album is mentioned and partially reproduced in de Andrade’s article.
Mário de Andrade comenta que a gravura não está entre os "meios prediletos do colecionador", razão pela qual a produção artística brasileira sofre, devido a escassez de gravadores modernos. Destaca, dentre eles, Oswaldo Goeldi, que acabara de publicar o álbum "Dez gravuras em madeira", com texto de Manuel Bandeira, obra mencionada e reproduzida em parte neste artigo de Andrade.
In this critically accurate document, Mário de Andrade (1893–1945) discusses the work of the draftsman, illustrator, and printmaker Oswaldo Goeldi (1895–1961) and describes his technique as being in the German woodcut tradition. Goeldi was introduced to the woodcut style by Ricardo Bampi in 1923. In de Andrade’s opinion, which is substantiated by the prints in the album Dez gravuras em madeira de Oswaldo Goeldi [Ten Woodcuts by Oswaldo Goeldi], the Brazilian artist preserves the “plant-like qualities” of the wood throughout the printing process. De Andrade also notes that Goeldi’s black and white drawings fluctuate between two extremes: “He can alternate between a very rough synthesis and the loveliest of resolutions.”
Manuel Bandeira (1884–1968), the poet from Pernambuco, was also an art critic, professor of literature, and a translator; he wrote the introduction to Goeldi’s album. On the strength of his poem, Os sapos [The Toads], he was a member of the Semana de Arte Moderna [Modern Art Week] (1922). By the time he wrote the introduction to Goeldi’s album, Bandeira had already published a radically important book, Libertinagem [Licentiousness] (1930) in which he achieved effects that were fairly similar to Brazilian “modernism” through the use of free verse. The book includes representative poems, such as Evocação do Recife [Memories of Recife] and Vou-me embora pra Pasárgada [I Am on My Way to Pasárgada].
Mário de Andrade inscreve o modo de produção de Goeldi na tradição da moderna xilogravura germânica, da qual o artista brasileiro conserva as "qualidades vegetais" da madeira, durante o processo de impressão. O autor registra, também, a qualidade do desenho em branco-e-preto, que "pode ir da síntese mais ríspida à análise mais amorosa".
b- Emergência expressionista