Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
Synopsis

SPAM (Sociedade Pró-Arte Moderna) was founded in December 1932 in São Paulo. Its stated goals were to create closer artistic ties, and relationships between artists and the public. The catalogue for the SPAM 1ª Exposição de Arte Moderna includes the statutes of the society, the introductory essay by the well-known intellectual Mário de Andrade, and reproductions of the works presented in the exhibition. The SPAM Executive Committee included: Olívia Guedes Penteado, Mina Klabin Warchavchik, Chinita Ullman, the painter Lasar Segall, Jayme da Silva Telles, Paulo Rossi Osir, and Paulo Mendes de Almeida.

Leia esta sinopse em português
Synopsis

Fundada em São Paulo, em dezembro de 1932, a Sociedade Pró-Arte Moderna tem o propósito de estreitar as relações entre artistas e, além disso, entre artistas e público. O catálogo da 1ª Exposição de Arte Moderna da SPAM contém o estatuto da sociedade, o texto de apresentação de Mário de Andrade e a reprodução de trabalhos apresentados na mostra. A comissão executiva da SPAM era formada por Olívia Guedes Penteado, Mina Klabin Warchavchik, Chinita Ullman, Lasar Segall, Jayme da Silva Telles, Paulo Rossi Osir e Paulo Mendes de Almeida.

Revert to English synopsis
Annotations

In 1930, Getúlio Vargas took over the government of the country in the so-called “Lieutenant’s Revolution.” In an effort to concentrate his national power he appointed administrators in each of the Brazilian states. Two years later there was mounting discontent in the state of São Paulo, with demands for a new constitution and presidential elections. This “Revolução Constitucionalista” [Constitutional Revolution] (1932) included university students, storekeepers, and liberal professionals that gradually tilted the country toward civil war. SPAM was founded shortly after the political unrest prompted by military and civilian uprisings. It was actually moving in a direction parallel to contemporary events—albeit at a cultural level— by being organized as a collective movement designed to create a social network to promote exhibitions and carnival dances, as well as to get involvement with certain kinds of workshops. The historiography of Brazilian art identifies SPAM as an early incarnation of the Museu de Arte Moderna de São Paulo, particularly in terms of its activities in local art circles.  

 

The SPAM 1ª Exposição de Arte Moderna was held at the Palacete Campinas, in the city of São Paulo, and was unquestionably the most ambitious exhibition of modern art that had ever been organized up to that point in time. It included a hundred works by foreign artists such as: André Lhote, Constantin Brancusi, Giorgio de Chirico, Le Corbusier, Robert Delaunay, John Graz, Vittorio Gobbis, Fernand Léger, Juan Gris, and Pablo Picasso. Brazilian exhibitors included Anita Malfatti, Victor Brecheret, Antonio Gomide, Lasar Segall, Tarsila do Amaral, the modernist architect Gregori Warchavchik, and Wasth Rodrigues.

 

In the introductory essay to the catalogue, the poet and art critic Mário de Andrade (1893–1945) noted the absence of any “social art” among the work of the eclectic group. In his essay, he defines art as a philosophical, sentimental, and technical form of expression between the artist, the work of art, and the viewer. In his opinion, a “prime work” would achieve a harmonious balance of those three elements.    

Leia este comentário crítico em português
Annotations

A SPAM foi criada logo após a agitação política que culminou na Revolução Constitucionalista, em 1932, e constituiu movimento coletivo para instalar pequena rede social ao promover exposições e bailes de carnaval, além de abrigar ateliês. A historiografia da arte brasileira identifica na sociedade uma espécie de precursora do Museu de Arte Moderna de São Paulo, pela importância de suas atividades no ambiente artístico da cidade.
A 1ª Exposição de Arte Moderna da SPAM, realizada no Palacete Campinas, em São Paulo, constituiu a maior mostra de arte moderna feita no Brasil até então, com 100 obras de, entre outros, André Lhote, Anita Malfatti, Constantin Brancusi, Giorgio De Chirico, Victor Brecheret, Le Corbusier, Robert Delaunay, Antonio Gomide, Lasar Segall, John Graz, Vittorio Gobbis, Fernand Léger, Juan Gris, Pablo Picasso, Tarsila do Amaral, Gregori Warchavchik e Washt Rodrigues. No texto de apresentação do catálogo, Mário de Andrade reclama a ausência de "arte social" no eclético grupo de artistas. O autor define a arte como jogo de manifestação filosófica, sentimental e técnica entre artista, obra e espectador. A "obra-prima", para ele, tende a equilibrar estes "três elementos essenciais".

 

b- Agrupamentos e movimentos de renovação artística (década de 30 e40)

e- Agremiações, Alianças, modelos de atuação e organização da cultura. Em apoio a arte moderna, dec 20, 30,40

Revert to English annotations
Researcher
José Augusto Ribeiro
Team
FAPESP, Sao Paulo, Brazil
Credit
Courtesy of the family of Mário de Andrade, São Paulo, Brasil.
Location
Museu Lasar Segall - Biblioteca Jenny Klabin