Brazilian Academy

In 1917, Anita Malfatti promotes, in So Paulo, an exposition that if it would transform into a pioneering landmark in the process of renewal of the Brazilian plastic arts. They were strong and free paintings without the lesser concern with the naturalismo, so cultuado for the academy. Its activity, placing in contact intellectual youth with total unknown new ways in Brazil, will be the prelude for the revolution that would occur in 1922, the most powerful manifestation of artistic update in Brazil, opening space for the new open perspectives to the art, in a position of antiacademic and controversial ways, generating confusion how much to its aesthetic objectives. The names of Mario de Andrade, Oswald de Andrade, Menotti del Picchia, Guillermo de Almeida, Pablo the Prado, Village Wolves, Victor Brecheret, Di Cavalcanti, Anita Malfatti, Vicente of Rego Hunter, Cndido Portinari, enters others, form the cast of modernistas that would have to dictate good the news of the modern art. The capital, So Paulo, neighbor of Saints, were palco for these transformations and a strong factor for the displacement of the cultural axle of Rio De Janeiro that, in the condition of capital since the coming of D. Joo VI, was the cultural center where he sheltered the academies, the producing and consuming market. In the River they were the central power, the School of Beautiful Arts, the National Hall, the Brazilian Academy of letters, establishments strong conservatives, obeying blindly the academic tradition French, arraigada between the Cariocas and followed for the santistas artists. Touched for the new routes of the Brazilian art, of the one after 1922, a small group of artists of Saints, without the lesser pretension of if creating a cultural movement, or an artistic school in the city, starts to leave to paint, searching new landscapes and other atmospheres. The destination was Ouro Preto, Paraty, They are Sebastio, or same the Bertioga neighbor.

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