Documents of Latin American and Latino Art

“Modernist” sculptor Celso Antonio arose from the arts scene in Rio de Janeiro during the 1930s; he was named a professor at the Escola Nacional de Belas Artes by its director, architect Lúcio Costa, who was a member of the same movement. The [...]

This article by poet Manuel Bandeira condemns the forced resignation of architect and urbanist Lucio Costa as the director of the Escola Nacional de Belas Artes after he had implemented reforms in instruction and in the Salão de 1931, widely known [...]

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 [...]

In describing Brazilian architecture, architect Oscar Niemeyer looks to its Portuguese origins and to the innovative modern movement spearheaded by Ukrainian-born Brazilian architect Gregori Warchavchik and urbanist Lúcio Costa, both of whom—in [...]

The catalogue for the Exposição de uma casa modernista was written by the architect Gregori Warchavchik, creator of this radical project. Although it was controversial in the conservative milieu of the period, the project was fairly significant in [...]

The writer Antonio de Alcântara Machado discusses the city of São Paulo, which in his opinion, “is an aesthetic-urban disaster.” He comments on “the bad taste” of the city’s sculptures and monuments, making just one exception in the case [...]

Gregori Warchavchik, the Ukrainian architect based in Brazil, defends functionalism within the context of modern architecture and, in his judgment, that definitions should be restricted to the potential and means of the materials used. He states that [...]