Documents of 20th-century Latin American and Latino Art

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Synopsis

This article was originally published in the “Lanterna mágica” [Magic Lantern] section of O Pirralho [The Brat], a magazine founded by Oswald de Andrade (in São Paulo, 1912). The article by the young writer lobbies for a “greater expression of nationality” in the artistic production of Brazil. His words are aimed more specifically at the artists who benefited from the Pensionato Artístico do Estado de São Paulo [State of São Paulo Artists’ Grants]. From 1912 until 1931, this state grant program covered the costs incurred by artists from São Paulo who went to Europe to perfect their skills. Oswald de Andrade proposed that after completing their training, participating artists should shake off the “pictorial habits they acquired, and the suggestions they were given about local art” while they were in Europe. In his opinion, there was an imperative need to explore the “country’s immense resources” in search of a form of painting that could be described as truly “Brazilian.”

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Synopsis

Desde Paris ?, o artigo de Oswald de Andrade requer uma "manifestação superior de nacionalidade" na produção de arte do Brasil. O autor se dirige mais especificamente aos contemplados pelo Pensionato Artístico do Estado de São Paulo, que, entre 1912 e 1931, subvencionou estudos de aperfeiçoamento técnico de artistas paulistas na Europa. Andrade propunha que, após esse aprendizado, os artistas se livrassem dos "motivos picturais (sic) que tiveram, das sugestões que sofreram da arte local " no exterior, para buscar nos "recursos imensos do país" a expressão de uma pintura capaz de ser reconhecida sob o adjetivo de "brasileira". O texto foi originalmente publicado na seção "Lanterna Mágica" do jornal "O Pirralho", fundado pelo autor em 1912, em São Paulo.

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Annotations

In the mid-1910s, the writer Oswald de Andrade (1890–1954) identified a certain level of “agitation” in painting circles in São Paulo. The cause of the commotion was the Pensionato Artístico [Artists’ Grants], the state government program that for nearly twenty years had subsidized visual artists and musical composers who wanted to study in Europe. The writer puts his finger squarely on a basic flaw in the system when he points to the absence of a form of painting that could be described as authentically “Brazilian,” a style that he describes as being inspired by the “immense resources in this country, by its great wealth of color and light.” In his opinion, so far the exception to the rule had been the painter [José Ferraz de] Almeida Júnior (1850–89), an artist who made a name for himself by painting the landscape and daily life of rural peasants in the São Paulo area. Almeida Júnior had actually been influenced by French Realism; his palette tended toward a range of bright, luminous colors and his brushstrokes were freely applied, which distinguished his work in certain definite ways from the academic painting that was all the rage in Brazil in those days. Oswald nonetheless thought that there was a disappointing dearth of painters who—“when they come to Brazil and settle among us”—work with the “most varied landscapes, the most diverse colors, and the most expressive types of tragic and opulent life to be found in our incredibly vast hinterland.” In short, [there were few] experienced painters who were able to combine their foreign training with their local experience. The writer’s words presciently express what would become one of the fundamental tenets of Brazilian “modernism” In the 1920s. Therefore, that is the important and pioneering nature of this particular document.

Leia este comentário crítico em português
Annotations

Em meados da década de 1910, o escritor Oswald de Andrade identifica uma "agitação" entre os pintores de São Paulo, por conta do Pensionato Artístico, programa do Governo do Estado que concedeu bolsas de estudo na Europa a artistas plásticos e compositores paulistas, por quase 20 anos. Porém, no artigo, o autor lamenta a ausência de uma pintura genuinamente nacional, brasileira, prescrita por ele como voltada para os "recursos imensos do país, dos tesouros de cor, de luz". Na opnião de Andrade, quem havia chegado mais perto desse propósito até aquele momento fora (José Ferraz de) Almeida Júnior (1850-1889), que se notabilizou por pintar a paisagem e o cotidiano do homem do interior paulista, em obras com heranças do realismo francês, palheta de cores claras, luminosas, e pinceladas mais livres, distanciando-se, em alguns aspectos, da pintura acadêmica que se praticava no Brasil. Mas faltavam ainda pintores que, "incorporados ao nosso meio, à nossa vida", trabalhassem a partir dos "mais variados modelos de cenários, os mais diversos tons de paleta, os mais expressivos tipos de vida trágica e opulenta do nosso vasto 'hinterland'" (algo como terra insinuante, em português). Pintores, enfim, que pudessem combinar o aprendizado no exterior com a experiência local.

 

b- Busca, construção e expressão de aspectos locais

b- Circulação de artistas, intelectuais e obras entre Brasil, Europa e EUA

b- Modernismo: arte e ideário

b- Nacional e universal

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Researcher
José Augusto Ribeiro
Team
FAPESP, Sao Paulo, Brazil
Credit
Oswald de Andrade, 1915
Location
Biblioteca Municipal Mário de Andrade - Seção de Arte