Brazilian artistic modernism was born out of nationalist pride. Until the early 1910s, Brazilian art traditionally circulated around religious portraits, portraits and landscapes. The Brazilian Academy of Arts is a huge conservationist, seeing any new international art movement as radical and thus inconsistent with the traditions of the state. Additionally, Brazil is experiencing an economic boom curated by wealthy industrialists, and funding from the national exhibition Nouveau Riche reflects their conservative taste. Brazilian modernism pushes the country’s national artistic identity into a new century, “Brazil! Brazil! A group exhibition at the Royal Academy in London has lingering artists who bring a free, more modern sense of self-identity to the country’s artistic heritage.
Modernism in painting has been bubbling in Europe since the 1860s, as art shifted from formal, storytelling metaphors to works that explore how paint can expressively and swell. By the 1910s, Paris and Berlin were hotbeds of modernism, as Picasso, Braque, Kilchiner and others were shattered through the boundaries of painting. Brazilian artist Anita Malfatti was born in São Paulo in 1889 and visited Europe in 1912. Finally in Berlin, she was immersed in new artistic ideas, and when she returned to Brazil, she incorporated them into her paintings. Marfati becomes Grupo Dos Cincoa collective effort by artists and writers to get rid of old-fashioned ideas including painter Tarsila Do Amaral. this Grupo Dos Cinco They were the first modernists in Brazil, and Malfatti and Do Amaral were key figures among the ten artists in the academy’s exhibition.
Brazil’s modernist timeline is a long timeline. From the beginning of the twentieth century, it was widely agreed that the movement was circulated in the early 1970s, and the Academy’s exhibition successfully illustrates how modernist art of Brazilian modernism became more relaxed and colorful over time. Tarsila Do Amaral’s artwork shows this blossom, she lake The 1928 painting is a glorious celebration of nature, which is inconsistent with her introspective portrait works, such as the poet’s paintings. Grupo Dos Cinco Member of Oswald de Andrade – Started six years ago.
Anita Malfatti also painted Oswald de Andrade, and her renderings show how Brazilian modernists embrace fresh paint manipulation. Malfatti’s Oswald is moving, crossing the canvas in front of a vibrant background of the color intersecting planes. Similarly, Flávio De Carvalho used portraiture to push his exercise forward. His portrait is Mário DeAndrade (another one Grupo Dos Cinco Since 1939, the poet and the firm) is a vague exercise that can be cut with a brush. Flávio De Carvalho is a wildcard. Originally an architect and engineer, his artistic excursions included Experience N. 2Brazil’s first performing arts act, in the opposite way of religious parades (very frowning), wandering among the crowds with women (even worse).
Lasar Segall and Vicente do Rego Monteiro are contemporaries of Malfatti and Do Amaral. Born in Lithuania in 1891 and educated in Germany, Segall moved to Sao Paulo in 1912, bringing his experience with European expressionism. exist Banana PlantationDrawn in 1927, Segall recognized the existence of African culture after Portuguese colonists trafficked slaves from Africa to the country. A plantation worker stares from the canvas, seemingly approaching the banana plant around him. Vicente do Rego Monteiro exhibited in the 1920s with Segall and Malfatti, his circular paintings of figures Shooter Beginning in 1925, the curved forms of British modernists Henry Moore and Barbara Hepworth.
During World War II, Candido Portinari’s output was based on the gap between the rich and the poor in Brazil. He used scarecrow drawings and paintings to convey the plight of the poor people in the country, as well as his 1940 paintings scarecrow It’s a young girl in ragged clothes. By contrast, Alfredo Volpi reduced his paintings to simple geometric forms. his Untitled 1950’s work is a mixture of intentional naive trompe l’oeil When its triangle seems to vibrate and tremble the blue ground. Geraldo de Barros is also attracted by geometric and shape trajectories and his title Three similar shapes in a circle Artwork says: solid color ice cream swirls.
Djanira da Motta E Silva is the third female artist in the survey. She is called djanira, she Three Orishas The painting in 1966 was a shocking moment. Brazilian modernism was a powerful force established in the 1960s, and Djanira spent some time in New York where she hangs out with Marc Chagall and Joan Miró. Like Segall, she represents the influence of African culture on her country, Three Orishas The painting shows three people Orisasor the goddess of West Africa, looms in front of a pair of drummers. Rubem Valentim is here too Orisa myth. The only artist shown here, working in three jobs and two jobs, Valentim’s Orisas In his oil paintings are unrecognizable cubes, like totem in his wooden cutting and carving. Made in 1980 Symbol S bone change kit – e59 It is one of a long series of Valentim sculptures that he considers a divine contribution to the African gods.
Overall, “Brazil! Brazil!” is a stable performance, but its performance quality is very high. In 2022, Royal Academy held a retrospective of William Kentridge, and the whole deal was a combined enjoyment. Exhibition unfolds As the exhibition unfolds, lighting bounces from intensity to subtlety, and Kentridge’s work is a well-managed chaos. There is no such romp or chaos here, and it is a pity given the vibrancy and vigor of the artwork displayed.
“Brazil! Brazil! The Birth of Modernism”At Royal College in London until 21 April 2025. Booking is recommended.
