scholarly journals Análise de projetos arquitetônicos modernistas com interferências visuais no Brasil / Analysis of Modernist Architectural Projects with Visual Interference in Brazil

2014 ◽  
Vol 1 (2) ◽  
Author(s):  
Marco Antonio Rossi ◽  
Eliane Patricia Grandini Serrano
Keyword(s):  
Twentieth Century ◽  
Sao Paulo ◽  
Modern Architecture ◽  
São Paulo ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Early Twentieth Century ◽  
Visual Interference

ABSTRACTModernism was a movement that began in the 1920s through the critical activities of Oswald de Andrade, Menotti del Picchia, Mário de Andrade and others who warned against the appreciation of national roots. Thus exposed their ideas of renovating groups of artists who begin to unite around a new aesthetic proposal. Modern architecture in Brazil had their origins in European avant-garde in the early twentieth century as well, represented by architect Antonio Moya. In 1923 arrives in São Paulo Warchavchik the architect, who always insisted on the character while "modern" and "Brazilian" in its architecture. Following years: architects assert themselves fully, influencing young architects. This research aims to analyze the projects executed by some architects who rewrote and reshaped the architecture in Brazil with modernism and artistic / visual interference paneled walls and details inside these buildings.RESUMOO modernismo foi um movimento que se iniciou por volta dos anos 1920 através das atividades críticas de Oswald de Andrade, Menotti del Picchia, Mário de Andrade entre outros, que alertaram para a valorização das raízes nacionais. Assim expuseram suas idéias renovadoras de grupos de artistas que começam a se unir em torno de uma nova proposta estética. A arquitetura moderna no Brasil teve suas origens na vanguarda européia no início do século XX assim, representada pelo arquiteto Antônio Moya. Em 1923 chega a São Paulo o arquiteto Warchavchik, o qual Insistia sempre no caráter ao mesmo tempo “moderno” e “brasileiro” na sua arquitetura. Anos seguintes: arquitetos se afirmam integralmente, influenciando os novos arquitetos. Esta pesquisa tem o objetivo de analisar os projetos executados por alguns arquitetos que reformularam ou reescreveram a arquitetura no Brasil com o modernismo e as interferências artísticas / visuais com painéis nas paredes e detalhes inseridos nestas construções.

Brecheret, Victor (1894–1955)

2018 ◽  
Author(s):  
Cynthia Canejo
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Art Deco ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Public Monuments ◽  
Unique Character ◽  
Arts Festival ◽  
Constantin Brancusi ◽  
Unique Style

Victor Brecheret was a modernist sculptor whose unique style incorporated the graceful design of Art Nouveau and Art Deco and the purity of the School of Paris. Working in São Paulo, one of the centers of the avant-garde during the earliest manifestations of modernism in Brazil, Brecheret participated in the Semana de Arte Moderna de 1922 [Week of Modern Art]—an arts festival organized by a group of modernists for the centennial celebration of Brazilian independence—which took place in the Teatro Municipal de São Paulo between 3 and 17 February, 1922. Brecheret became an important part of this intellectual group, which included the painters Anita Malfatti and Emiliano Di Cavalcanti; the poet, Menotti del Picchia; and the writers, Mario de Andrade and Oswald de Andrade. Brecheret was inspired to simplify his sculptural forms while visiting the Parisian ateliers of two noted sculptors: the Romanian, Constantin Brancusi, and the Frenchman, Aristide Maillol. As a modernist working on public monuments—such as the MonumentoàsBandeiras [Monument to the Pioneers], in Ibirapuera Park, São Paulo, 1936–1956—Brecheret was able to unite his national tendencies with his international inclinations. In working with ideas from both Brazil and Europe, Brecheret assimilates national subjects with international styles to create works that are decidedly his own. Furthermore, in choosing unusual poses or unconventional designs, he gives traditional themes a unique character.

Semana da Arte Moderna de 1922 [Modern Art Week, São Paulo 1922]

2018 ◽  
Author(s):  
Sarah Ann Wells
Keyword(s):  
Latin America ◽  
Women Artists ◽  
Modern Art ◽  
Sao Paulo ◽  
São Paulo ◽  
Dance Music ◽  
Music Theater ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Modernization Process

Arguably the single most influential event of the historical avant-gardes in Latin America, Brazil’s Modern Art Week (São Paulo, 1922) put forth a vision for new art that would prove influential throughout the 20th century. A three-day event held at São Paulo’s Municipal Theater, the Modern Art Week provided a point of connection for different artists and also displayed a new phenomenon to Brazil’s bourgeois public: the heady mix of ‘‘isms’’ which were circulating in cosmopolitan European circles, including Expressionism, Surrealism, and others. Up until then, this vision had only been articulated in Brazil in piecemeal fashion. The Modern Art Week incorporated dance, music, theater, literature, visual arts, and architecture, and featured artists and writers who would become some of the most influential in the boom of Brazilian modernism that was to follow, among them Mário de Andrade, Oswald de Andrade, Manuel Bandeira, Anita Malfatti, and Tarsila do Amaral. Influenced by Brazil’s rapid industrialization and modernization, the event featured a heterogeneous group that, together, displayed the ambivalent modernization process that characterizes Brazilian modernism more broadly. Unlike many of their avant-garde contemporaries in Latin America and abroad, women artists played key roles in the Modern Art Week and in Brazilian modernist art more generally, especially in visual culture and dance.

Klaxon (São Paulo, 1922–1923)

2018 ◽  
Author(s):  
Sarah Ann Wells
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Monthly Basis ◽  
Jean Cocteau ◽  
Mario De Andrade ◽  
Charlie Chaplin ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
The Impact ◽  
Guillermo De Torre

Klaxon (São Paulo, 1922–1923) was the first and most important of Brazil’s avant-garde artistic journals. It comprised a total of nine issues, published on a monthly basis, which included an eclectic mix of poems, short stories, essays, visual art, fragments of novels, reviews and commentaries on music and theater. In its third issue, Klaxon incorporated film criticism in Brazil (No. 3, p. 11). The journal’s collective nature was emphasized both through the content of its pages and its masthead. Key contributors included the writers Sérgio Milliet, Menotti Del Picchia, Guilherme de Almeida, and Oswald de Andrade, but it was the impact of the "pope" of Brazilian modernism, Mário de Andrade, that cemented Klaxon’s influence in Brazil. Anchored in São Paulo, Brazil’s largest and most industrialized city, Klaxon was read selectively throughout the country and in small foreign circles of Europe and Latin America; within five years of its publication, similar modernist journals had emerged in even the most peripheral regions of Brazil. Furthering this cosmopolitan orientation, Klaxon incorporated articles and images from Brazil’s burgeoning avant-garde scene as well as from France, Japan, Belgium, and Spain, and published selected works in French. Henri Bergson, Jean Epstein, Igor Stravinsky, Pablo Picasso, Jean Cocteau, Charlie Chaplin, Guillermo de Torre, and Guillaume Apollinaire were among the figures of international modernism to appear in its pages.

scholarly journals Inculcar a seriedade mediante a alegria: um estudo das comemorações escolares no campo educacional (finais do século XIX e início do XX)

2017 ◽  
Vol 1 (3) ◽  
pp. 30
Author(s):  
Renata Marcílio Cândido ◽  
Denice Barbara Catani
Keyword(s):  
Twentieth Century ◽  
Organizational Context ◽  
School Context ◽  
Sao Paulo ◽  
São Paulo ◽  
Consolidation Process ◽  
Educational History ◽  
Early Twentieth Century ◽  
Late Nineteenth ◽  
Educational Field

O artigo pretende analisar a construção do objeto festas no campo educacional, especialmente da história da educação, em sua multiplicidade de configurações, atentando não somente para a genealogia do evento no contexto escolar e a maneira pela qual o mesmo participou da organização de uma cultura própria da escola, mas também para as suas contribuições no processo de consolidação do campo em um contexto de organização do sistema público e estatal de ensino do Estado de São Paulo. A análise do evento beneficia-se de fontes como os periódicos educacionais da época (final do século XIX e início do XX) e da legislação de ensino. Opta-se por descrever aqui a articulação entre os festejos e os projetos formadores dominantes nas escolas, suas relações com outras áreas do saber e suas contribuições para o delineamento de questões de ensino.Instilling seriousness through joy: an essay about school celebrations on the educational field (late nineteenth and early twentieth-century). This article intends to analyse the construction of the object school celebrations on the educational field, especially the educational history, regarding its multiplicity of configurations. Thus, not only is this work aimed to focus on the event genealogy in school context, and its participation in the organization of a school culture, but also on its contributions to the field consolidation process in an organizational context of the state public teaching system of São Paulo. The analysis of the event in the educational field benefit from studies sources such as late nineteenth- and early twentieth-century educational journals and education legislation as well. Seeing that, it is opted to describe the articulation between festivities and educational projects in particular which are dominant at schools, their relations with other knowledge areas, and also their contributions to framing teaching issues. Keywords: Celebrations; Educational field; History education.

Di Cavalcanti, Emiliano (1897–1976)

2018 ◽  
Author(s):  
Paulo Kühl
Keyword(s):  
Rio De Janeiro ◽  
Modern Art ◽  
Sao Paulo ◽  
Law School ◽  
Urban Life ◽  
São Paulo ◽  
Mario De Andrade ◽  
Avant Garde ◽  
Artistic Production ◽  
Getting Lost

The works of Emiliano Di Cavalcanti are at the center of modernism and national art in Brazil. Practically a self-taught artist, he attended the workshop of Gaspar Puga Garcia (18??–1914) in Rio de Janeiro, and later, in São Paulo, when he started Law School, the workshop of Georg Fisher Elpons (1865–1939), a German artist who had moved to Brazil. In the first years of his career as an artist, Di Cavalcanti engaged in several activities as an illustrator and cartoonist and his drawings are among the most interesting parts of his artistic production. During his two longer stays in Europe (1923–1925 and 1937–1940), he moved closer to avant-garde artists and their works, especially Picasso, which allowed him to become aligned with various artistic transformations of the first half of the 20th century. His interests in certain subjects, such as Brazilian women—especially the mulatas—and also carnival, some aspects of urban life in Rio de Janeiro, seascapes, and still-lives helped to form him as a national modernist painter. Mário de Andrade (1893–1945), already in 1932 saluted Di Cavalcanti as one of the greatest modernist heroes in the country: one who brought novelties from Europe, without getting lost in them, and who dedicated himself to national topics. Di Cavalcanti participated actively as one of the organizers of the Semana de Arte Moderna (Modern Art Week) in São Paulo (1922), milestone of modernism in Brazil.

The Argentine Allusion: On the Significance of the Southern Cone in Early Twentieth-Century São Paulo

2021 ◽  
Vol 78 (1) ◽  
pp. 61-87
Author(s):  
James P. Woodard
Keyword(s):  
Twentieth Century ◽  
Latin American ◽  
Southern Cone ◽  
Sao Paulo ◽  
Spanish America ◽  
São Paulo ◽  
Periodical Press ◽  
Home State ◽  
American Intellectual ◽  
The Difference

AbstractThis article examines a much cited but little understood aspect of the Latin American intellectual and cultural ferment of the 1910s and 1920s: the frequency with which intellectuals from the southeastern Brazilian state of São Paulo referred to developments in post Sáenz Peña Argentina, and to a lesser extent in Uruguay and Chile. In books, pamphlets, speeches, and the pages of a vibrant periodical press—all key sources for this article—São Paulo intellectuals extolled developments in the Southern Cone, holding them out for imitation, especially in their home state. News of such developments reached São Paulo through varied sources, including the writings of foreign travelers, which reached intellectuals and their publics through different means. Turning from circuits and sources to motives and meanings, the Argentine allusion conveyed aspects of how these intellectuals were thinking about their own society. The sense that São Paulo, in particular, might be “ready” for reform tending toward democratization, as had taken place in Argentina, Uruguay, and Chile, was accompanied by a belief in the difference of their southeastern state from other Brazilian states and its affinities with climactically temperate and racially “white” Spanish America. While these imagined affinities were soon forgotten, that sense of difference—among other legacies of this crucial period—would remain.

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