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.

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.

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.

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 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.

The Institutionalisation of Self-Build Governance: Exemplifying Governance Relationships in São Paulo/Brazil/Latin America

2020 ◽  
pp. 23-42
Author(s):  
Camila D’Ottaviano ◽  
Suzana Pasternak ◽  
Jorge Bassani ◽  
Caio Santo Amore
Keyword(s):  
Latin America ◽  
Sao Paulo ◽  
São Paulo

scholarly journals Os parques infantis da cidade de São Paulo (1935-1938): análise do modelo didático-pedagógico

1969 ◽  
Vol 4 (1) ◽  
Author(s):  
Sandra Aparecida Bassetto VIEIRA
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Mario De Andrade ◽  
Cultura Escolar

Visando a contribuir para a reflexão sobre a trajetória da educação infantil no Brasil, neste artigo analisa-se especialmente a organização do modelo didádico-pedagógico dos Parques Infantis da cidade de São Paulo, os quais constituíram uma experiência inovadora e consistente no campo da educação infantil. Destinados, inicialmente, às crianças com idade de três a seis anos, oriundas das famílias operárias paulistanas carentes de assistência, os Parques Infantis tinham três finalidades: assistir, educar e recrear, com o objetivo de desenvolver física, intelectual e socialmente as crianças. Os Parques Infantis de São Paulo localizavam-se em bairros populares e eram mantidos pela administração municipal com verba do Departamento de Cultura. O intelectual modernista Mário de Andrade esteve à frente do Departamento de Cultura entre 1935-1938 e empreendeu um conjunto de realizações educacionais e culturais significativas, que resultaram numa experiência pioneira e original no campo da educação paulistana. A pesquisa concluída na área de História da Educação desenvolveu-se mediante recuperação, reunião, seleção, ordenação e análise de fontes primárias assim como estudo da bibliografia especializada sobre o tema e está vinculada ao Projeto Integrado de Pesquisa: Cultura Escolar Urbana: São Paulo: 1840-1940. Repertório de Fontes documentais (apoio CNPq), coordenado pelo Prof. Dr. Carlos Monarcha e disponível na Internet . Palavras-chave: Parques infantis; educação infantil; história da educação.

scholarly journals PREVALENCE OF JUVENILE IDIOPATHIC ARTHRITIS IN SCHOOLCHILDREN FROM THE CITY OF SAO PAULO, THE LARGEST CITY IN LATIN AMERICA

2019 ◽  
Author(s):  
VANIA SCHINZEL ◽  
SIMONE GUERRA LOPES DA SILVA ◽  
GIOVANA PALUDO ◽  
ALINE ROCHA ◽  
CLÁUDIO ARNALDO LEN ◽  
...  
Keyword(s):  
Latin America ◽  
Juvenile Idiopathic Arthritis ◽  
Sao Paulo ◽  
São Paulo ◽  
The City

scholarly journals Conocimiento histórico y niños pequeños: parques infantiles y escuela municipal de educación infantil

2014 ◽  
Vol 14 (15) ◽  
pp. 233-252
Author(s):  
Marcia Aparecida Gobbi
Keyword(s):  
Sao Paulo ◽  
São Paulo ◽  
Mario De Andrade ◽  
Formación Docente

Este artículo relata la experiencia en el proyecto Los parques infantiles de Mario de Andrade ayer y hoy, emprendido por todos los profesionales y niños de una escuela municipal de Educación Infantil de la ciudad de Sao Paulo. La preocupación respecto al conocimiento histórico y los niños enla primera infancia y sus necesidades, desde una perspectiva no-escolarizadora y no anticipadora dela Enseñanza Fundamental, fue la tónica de esta investigación y un desafío. Busca aliar historia y memoria, estableciendo las relaciones entre Historia dela Educación, historia de la escolarización de niños pequeños y formación docente.

scholarly journals Race, Gender, and Work: Syrian-Lebanese Women in Turn-of-the Century Sao Paulo

1970 ◽  
pp. 33-41
Author(s):  
José D. Najar
Keyword(s):  
Latin America ◽  
Sao Paulo ◽  
Turn Of The Century ◽  
São Paulo ◽  
Gender And Work ◽  
European Immigrants ◽  
The Impact ◽  
Lebanese Immigrants

Recently the study of the Syrian-Lebanese communities in Latin America has attracted much attention from scholars across a variety of disciplines (Klich & Lesser, 1998; Zobel, 2006; Akmir, 2009). Although the impact of this emerging body of scholarship has greatly contributed to our understanding of non-European immigrants to Latin America and their contribution to their adoptive countries, less attention has been paid to the roles and experiences of Syrian-Lebanese women or women of Syrian-Lebanese descent. Even less attention has been paid to their transnational experiences.Syrian-Lebanese women are often referenced only in passing and are typicallydepicted as homebound, or as women of leisure engaged in charitable work. Many of these trivial and anecdotal glimpses into the lives of Syrian-Lebanese women in Brazil reflect and reinforce the constant reproduction of gender and color hierarchies inBrazilian nationalist ideology. There has been even less focus on questions pertaining to the privileged white status the Syrian-Lebanese immigrants enjoyed upon their arrival in Brazil.

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