Frederico [de] Morais (b. 1936) is an art critic whose voice has left a significant mark on Brazil. As a newspaper journalist, he was an art critic for years in Diário de Notícias and in O Globo, both published in Rio de Janeiro. In the 1960s and 1970s, as a supporter of several avant-garde movements during those years, he was known as one of the most active “committed” critics, in addition to serving as a curator.
In this text, Morais analyzes the presence of the print in the artwork produced in Brazil during the 1960s and 1970s, in the midst of the whirlwind unleashed by what were known as the “new avant-gardes.” The artists involved were those who espoused the innovative media and visual languages emerging in the art world. This document is one article in a catalogue assembled for the exhibition Mostra da Gravura Brasileira, held by the Fundação Bienal de São Paulo in 1974, organized and coordinated by the professor and artist Donato Ferrari. Moreover, this catalogue includes essays by the journalists Mário Barata and Jayme Maurício, as well as testimonials by printmakers such as Lívio Abramo, Oswaldo Goeldi, Iberê Camargo, Marcello Grassmann, Darel, Fayga Ostrower, and Abelardo Rodrigues.