Documents of Latin American and Latino Art

This biographical and artistic profile on Ismael Nery was written a year after his death. The author and friend of the painter, Bruno de Menezes, establishes links to his work with particular times from Nery’s life, as well as with his interest [...]

This text by writer Murilo Mendes addresses the connections between the work of Brazilian painter Nery and the Surrealist movement. It contains an account of when, in 1927, Nery met Russian painter Marc Chagall and remarks on certain affinities [...]

In his text on the life and work of Ismael Nery, writer Murilo Mendes asserts that, though Nery was mostly known as a painter, his true focus was philosophy. Mendes provides an overview of Nery’s “essentialism”—a philosophical system he [...]

In this article, the writer and critic Mário de Andrade discusses the painter Ismael Nery’s creative process, mentioning aspects such as the unfinished look of his works, his compositional work in a Figurative vein, and his desire to build an [...]

Writer Aníbal Machado published this text on the occasion of the death of Ismael Nery. He points out some aspects of the artist’s personality and work and compares his painting with foreign artists of the stature of Max Ernest and André Masson [...]

Brazilian poet Murilo Mendes suggests certain autobiographical—and even religious and philosophical—considerations in the work of Ismael Nery. He cites and remarks on two texts on the painter written by Manuel Bandeira and published in 1929, that [...]

This essay is about reaching a dead end in the nationalist project as well as the aesthetic requirements inherent in the avant-garde when modern art began to develop in Brazil. That development was launched with the 1917 exhibition by the painter [...]

In this article, the author Icleia Borsa Cattani discusses her opinion that a particular artistic process is an intrinsic aspect of modernity: repetition. She analyzes the portrayal of the human body in the works of Frida Kahlo, Ismael Nery, and [...]

This article is about the Salão Nacional de Belas Artes that was organized by the architect Lúcio Costa; it explains that the organizing committee decided that no submission would be rejected. This prompted the “old guard” artists to boycott [...]

This is a speech given by writer Aníbal Machado at the close of the Exposição de Arte Social, which he jointly organized with poet Álvaro Moreyra and artist Tomás Santa Rosa at the Clube de Cultura Moderna in Rio de Janeiro in 1935. Machado [...]