Documents of Latin American and Latino Art

The second part of a two-part essay published in the Bellas Artes newspaper, this text consists of a lecture given by artist Flávio de Carvalho at the Congrès International d’Esthétique in Paris, and later (in 1937), at the Salão de Maio in Sã [...]

The first part of a two-part essay published in the Bellas Artes newspaper, this text consists of a lecture given by artist Flávio de Carvalho at the Congrès International d’Esthétique in Paris, and later (in 1937), at the Salão de Maio in São [...]

In this essay, Flávio de Carvalho discusses the role that drawing has played in art, and its importance in establishing a contrast between composition and movement. The artist from São Paulo claims that the thickness of a line is to drawing what [...]

This interview by Brazilian artist Flávio de Carvalho with French poet André Breton discusses the assumptions, historical precedents, various strains, and main players in the Surrealist movement that, in a certain way, Breton led. At Carvalho’s [...]

This is an interview granted by the North American photographer Man Ray, conducted by the Brazilian artist Flávio de Carvalho, in which Man Ray discusses photography and painting. He describes how he got his start in photography, and talks about his [...]

This is a literary article written by the artist Flávio de Carvalho, in which he describes his interview with and impressions of the French intellectual Roger Callois. During the interview, Callois states that twentieth-century science is no longer [...]

This is the transcript of a statement made by the poet Tristan Tzara when he was interviewed by Flávio de Carvalho during the latter’s trip to Europe in 1934. Tzara speaks at great length about Dadaist methods, the movement he leads, and the [...]

This is the statement of the British art critic Herbert Read, interviewed by the Brazilian artist Flávio de Carvalho. Read stresses the importance of the influence of black art on international modernism and claims that art is currently split into [...]

Flávio de Carvalho proposes that, in the twentieth century, man’s dwelling be transformed in response to a new reality. In de Carvalho’s view, man spends most of the day in the urban universe—that is his primary dwelling—and hence it should [...]

In this essay, the artist Flávio de Carvalho describes himself as a researcher into the “egocentric behavior of the world,” claiming that each social class usually wants to see itself portrayed in a straightforward manner. De Carvalho discusses [...]

In this article, the artist and engineer Flávio de Carvalho outlines his thoughts on a “city of the future” inhabited by “naked men,” members of a society that has “stripped” itself of western taboos, and is finally, “free from [...]

The artist Flávio de Carvalho describes the circumstances that led to the founding of the CAM [Modern Artists Club] with the painters Emiliano Di Cavalcanti, Carlos Prado, and Antonio Gomide. He also discusses the events and activities that defined [...]

The manifesto shown here uses the term “aesthetic revolution” to refer to the steady discarding of perception (specifically visual) in modern art, and on the other hand, to the resulting development of the “psychological and mental perception [...]

In 1933, the artist Flávio de Carvalho discussed the founding of the Teatro da Experiência at the premises of the CAM [Modern Artists Club] in São Paulo. Speaking from his broader experience as an architect and set designer, he sees the theater as [...]