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Brazilian Art and Architecture, Post-Independence (Art His.)

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Mar 15th, 2018
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  1. Introduction
  2. Often situated within the broader discipline of Latin American art, Brazilian art is distinguished by a unique linguistic and colonial history. Following the first encounter of Brazilian territory in 1500, the Portuguese attempted to pacify the different indigenous tribes comprising the Tupi people occupying the territories along the Atlantic Coast. Many tribes were put to work in the service of the crown, particularly in harvesting commodities such as the red dye extracted from Brazilwood, the tree that gave Brazil its name. The indigenous people, many of whom were decimated upon contact with heretofore unknown and infectious diseases brought from Europe, were later replaced by a huge influx of African slaves who were put to work on sugar plantations. A mixture of African, indigenous, and Portuguese traditions thus characterizes much of Brazilian art well into the 20th century. One distinguishing feature of Brazilian artistic traditions was the arrival of the Portuguese royal family and their court to Brazil in 1807. Fearing the arrival of Napoleon’s army, the Portuguese king, John VI, fled to Rio de Janeiro, establishing the only monarchy in the Americas, which he ruled until 1822, when Brazil gained its independence. During the 19th century, Rio was established as the political and cultural capital of the Portuguese empire. In 1816, the French Artistic Mission, comprising a group of French artists arrived in Rio to establish the first art academy there. The discussion of a nationally specific Brazilian art became possible during the 19th century, after the establishment of the first artistic institution dedicated to the teaching of art, the Royal School of Sciences, Arts and Crafts, which was later renamed the Imperial Academy of Fine Arts (it underwent several other name changes through the century). The French Artistic Mission was dominated by European, namely, French artistic models, a practice that continued well into the 20th century. The transition from the 19th to the 20th century brought with it not only significant social upheavals, including the abolition of slavery in 1888, but also a renewed interest in a nationally specific Brazilian art. Modernism in Brazilian art had its culminating moment in 1922 with Modern Art Week in São Paulo, establishing this growing urban center as an important venue for the production and circulation of art. This renewal was furthered with the foundation of the São Paulo Bienal in 1951. By the 1960s and 1970s, Brazilian art was exhibited in important international exhibitions, and today Brazilian artists have a strong presence in all major international art fairs and biennials. Contemporary art, although the most difficult to classify as having any specifically Brazilian traits, is also the most well-known by international audiences.
  3.  
  4. General Overviews
  5. It is important to understand that there is not one cohesive version of Brazilian art history; instead, it is more accurate to speak of art histories. A relatively new field, published histories on the topic began to emerge in the late 1960s and 1970s. Much of the scholarship on Brazilian art is still in Portuguese, with the exception of a large number of studies in English on a few well-known contemporary artists, in particular, Hélio Oiticica and Lygia Clark. Many of the best English-language sources are exhibition catalogues, which tend to be either surveys spanning a broad chronology, or thematic, focused on one particular topic, making them difficult to incorporate wholesale into the classroom. This section considers the existing surveys of the history of Brazilian art and architecture. One of the first comprehensive surveys was organized in 1979 by the publisher Abril Cultural with the goal of introducing Brazilians to their art and culture; the two-volume publication. Bardi 1979 is a wealth of information with essays by leading critics and historians covering a broad range of topics from precolonial indigenous art to the contemporary period and introducing well-known monuments, artists, and artworks. That same year Livros Abril also published a condensed one-volume survey also entitled Arte no Brasil with six sections ranging from colonial art to contemporary art, including an introductory essay to Modern Brazilian Architecture by Oscar Niemeyer; this volume was translated into English as Lemos, et al. 1983. Zanini 1983, a two-volume work, also brought together a wide range of leading scholars in writing the history of Brazilian art from the precolonial to the present, with fifteen lengthy chapters. One notable audiovisual source is Pignatari, et al. 1989, a four-part documentary. Since 2000, several significant exhibitions and English-language histories have also been published. The most extensive is Aguilar 2000, a series of fourteen catalogues, each devoted to a wide range of topics such as folk, Afro-Brazilian, modern, and contemporary art. Sullivan 2001 spans five hundred years of artistic production in Brazil and is lavishly illustrated. Sadlier 2008 is a cultural history survey focused on representations of Brazil from 1500 to the present. One of the most recent English-language surveys is a special issue of Third Text (see Martins 2012, cited under Criticism and Theory) dedicated to a range of topics in Brazilian art from the 19th century to the present. With a much narrower focus, Cardoso 2008 examines twenty-five of the most well-known paintings from the 19th and early 20th century.
  6.  
  7. Aguilar, Nelson. Brasil +500: Mostra do redescobrimento. 14 vols. São Paulo: Fundação Bienal de São Paulo, 2000.
  8.  
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  10.  
  11. A quincentenary initiative led by curator Nelson Aguilar for the year 2000 to showcase and celebrate Brazil’s cultural production. Resulted in a series of fourteen catalogues each devoted to either a specific chronology or theme. Indigenous and Afro-Brazilian art, the distant view, 19th century, modern and contemporary are a few examples of the different catalogues. Mostly bilingual and useful for historical information.
  12.  
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  14.  
  15. Bardi, Pietro Maria. Arte no Brasil. 2 vols. São Paulo: Abril Cultural, 1979.
  16.  
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  18.  
  19. One of the first Portuguese-language surveys of Brazilian art with ample illustrations. The two volume publications covers indigenous art, and final essay is on the 1950s and 1960s. Also includes a useful glossary of terms, artist biographies, index of museums, and chronology.
  20.  
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  22.  
  23. Cardoso, Rafel. A arte brasileira em 25 quadros (1790–1930). Rio de Janeiro: Editora Record, 2008.
  24.  
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  26.  
  27. Cardoso tells the history of Brazilian art from the late 18th to 20th centuries through a close study of twenty-five important paintings by the country’s most renowned artists. With extensive contextual information, useful questions on the importance of the works, and further reading, this book would be an excellent supplement to a class on Brazilian art. Includes black/white and color illustrations.
  28.  
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  30.  
  31. Lemos, Carlos Alberto Cerqueira, José Roberto Teixeira Leite, and Pedro Manuel Gismonti. The Art of Brazil. Translated by Jennifer Clay. New York: Harper and Row, 1983.
  32.  
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  34.  
  35. One of the first English-language surveys available. Translation of Arte no Brasil (São Paulo: Livros Abril, 1982). A more condensed version of the 1979 publication, with six chapters from colonial to contemporary art. Heavy on architecture, includes an introduction by the architect Pietro M. Bardi and an essay by Oscar Niemeyer on modern architecture. Slightly outdated but includes ample color illustrations.
  36.  
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  38.  
  39. Pignatari, Décio, dir. Panorama histórico Brasileiro. 3 DVDs. São Paulo: Instituto Cultural Itaú, 1989.
  40.  
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  42.  
  43. A Portuguese-language documentary addressing national identity, history, culture, art, society, and politics. Comprises four brief segments: A arte no auge do imperio (Art at the height of empire); Anos 30: Entre duas guerras, entre duas artes (The 30s: Between wars); Nasce a republica (The republic is born); and Pos-modernidade (Postmodernity). Includes footage from the belle époque era and addresses broader political and social movements surrounding the emergence of these different artistic moments.
  44.  
  45. Find this resource:
  46.  
  47. Sadlier, Darlene J. Brazil Imagined: 1500 to the Present. Austin: University of Texas Press, 2008.
  48.  
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  50.  
  51. This English-language survey is one of the first to explore cultural production in its social and historical context in Brazil from colonial times to the present. The scope, tone, and its historical perspective makes it useful for undergraduate survey classes on Brazilian art and culture.
  52.  
  53. Find this resource:
  54.  
  55. Sullivan, Edward J., ed. Brazil: Body and Soul. New York: Guggenheim Museum, 2001.
  56.  
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  58.  
  59. One of the most comprehensive English language exhibit catalogues bringing together a wide range of texts on topics that include indigenous, Afro-Brazilian, architecture and cinema. It is amply illustrated with high quality color images and bibliographies on selected themes, media and artists. Very useful for teaching.
  60.  
  61. Find this resource:
  62.  
  63. Zanini, Walter Albuquerque, ed. História geral da arte no Brasil. 2 vols. São Paulo: Instituto Walter Moreira Salles, 1983.
  64.  
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  66.  
  67. Among the first comprehensive (two-volume) Portuguese surveys on Brazilian art from indigenous to modern art. The first covers precolonial through to the 20th century; the second has chapters on modern art and architecture, photography, industrial design, Afro-Brazilian art, and art education.
  68.  
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  70.  
  71. Criticism and Theory
  72. Several theoretical paradigms are prevalent in the study of Brazilian art, particularly during the 20th century. Anthropophagy, or cannibalism, was a concept elaborated by Oswald de Andrade’s 1928 “Anthropophagite Manifesto,” calling on Brazilians to metaphorically consume European influence to create something uniquely Brazilian (see Bary 1991, an annotated translation of this work, cited under Modern Art). A popular critical theory for understanding Brazilian identity in cultural production beyond European influence, anthropophagy is not exclusive to the discipline of art history, although it is invoked at different movements throughout 20th-century art. Herkenhoff 1998 testifies to the importance of anthropophagy in the contemporary period, organizing the São Paulo Bienal around the theme of cannibalism. Art critic Mario Pedrosa’s theories championing the turn to abstraction are also critical for understanding the shift away from more regional artistic languages to the international idiom of geometrical abstraction during the 1950s. His wide-ranging texts on art, architecture, and culture more broadly are compiled in Pedrosa and Arantes 1995, a four-volume collection of selected texts in Portuguese although translations of this work are currently under way. During the 1960s, many intellectuals were influenced by Marxist theories, in particular the work of Herbert Marcuse and critics such as Mario Pedrosa, and Ferreira Gullar, a leading theorist and practitioner of neoconcrete became politically active, arguing that artists should engage their political and social context. Gullar’s publications from the 1960s suggest a rupture with his earlier ideas about the autonomy of form and instead point to the need for art to be politically and socially engaged; see the reprint of his seminal 1960s texts on negotiating the artistic avant-garde with Brazil’s underdevelopment, Gullar 2002. Social art history is among the most dominant frameworks for writing about artist production from the 1960s and 1970s; Amaral 2003 is among the most important texts in this vein. The literary critic Roberto Schwarz is another important Marxist inspired critic. Schwarz 1992 applies Marxist criticism to culture more broadly. Among works by art historians engaged with a more formalist approach is Brito 2005. For a panoply of critical voices spanning the past sixty years, see Ferreira 2006 in Portuguese and Martins 2012 in English.
  73.  
  74. Amaral, Aracy A. Arte para quê? A preocupação social na arte Brasileira, 1930–1970: Subsídio para uma história social da arte no Brasil. 3d ed. São Paulo: Itaú Cultural, 2003.
  75.  
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  77.  
  78. As the title suggests, this work is one of the most thorough and scholarly studies on the social function of art in Brazil as well as elsewhere in Latin America during the 20th century. The book is organized both thematically and chronologically with sections on the utility of art, political consciousness in the arts and includes an analysis of different artists such as Portinari and di Cavalcanti. Also includes a section about the role of the Biennial and the social function of architecture. In Portuguese.
  79.  
  80. Find this resource:
  81.  
  82. Brito, Ronaldo. Experiência crítica. Edited by Sueli de Lima. São Paulo: Editora Cosac Naify, 2005.
  83.  
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  85.  
  86. Sueli de Lima unites a wide range of brief texts (many three to five pages) covering the most well-known names in Brazilian art from the 20th century. The texts are culled from a variety of sources, including newspapers, exhibition catalogues, monographs from the past thirty years by this renowned critic and art historian Ronaldo Brito. The reflections tend to be poetic rather than scholarly with very few footnotes. In Portuguese.
  87.  
  88. Find this resource:
  89.  
  90. Ferreira, Glória, ed. Crítica de arte no Brasil: Temáticas contemporâneas. Rio de Janeiro: FUNARTE, 2006.
  91.  
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  93.  
  94. An anthology of texts on art criticism and theory in Brazil. One of the most comprehensive and wide-ranging compilations of texts from 1946 to 2005 by the leading critics, art historians, and artists in Brazilian art. Extremely useful as supplementary reading for any class on 20th-century Brazilian art. The introduction of the edited volume by Ferreira serves as a useful survey of art criticism in Brazil. In Portuguese.
  95.  
  96. Find this resource:
  97.  
  98. Gullar, Ferreira. Cultura posta em questão. Vanguarda e subdesenvolvimento: Ensaios sobre arte. Rio de Janeiro: Olympio, 2002.
  99.  
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  101.  
  102. This book combines two essays, the first “Culture in Question,” and the second “The Vanguard and Underdevelopment,” both of which were initially published individually. Gullar was one of the leading poets and theorists of Neoconcrete art, but during the early 1960s he became increasingly politicized. This publication testifies to a radical turn away from his theory on form toward the social efficacy of art.
  103.  
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  105.  
  106. Herkenhoff, Paulo. XXIV bienal de São Paulo. 2 vols. São Paulo: Fundação Bienal de São Paulo, 1998.
  107.  
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  109.  
  110. Curator Paulo Herkenhoff revives the notion of Anthropophagy as the organizing theme for the 24th São Paulo Bienal. The two lengthy volumes of this exhibition catalogue bring together essays on the history of cannibalism as well as more current explorations of this lens as it is applied to contemporary art. Bilingual.
  111.  
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  113.  
  114. Martins, Sérgio Bruno, ed. Special Issue: “Bursting on the Scene”: Looking Back at Brazilian Art. Third Text 26.1 (2012).
  115.  
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  117.  
  118. This issue, devoted to Brazilian art, brings together a variety of critical texts by established and emerging scholars on questions of identity, architecture, public space, critics Mario Pedrosa and Ferreira Gullar and artists Hélio Oiticica and Lygia Clark. All the essays are in English and theoretical in scope. Useful point of departure for research on these topics.
  119.  
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  121.  
  122. Pedrosa, Mário. Textos escolhidos. Edited by Otilia Beatriz Fiori Arantes. 4 vols. São Paulo: Edusp, 1995.
  123.  
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  125.  
  126. This four-volume collection of essays compiled by Arantes is one of the most comprehensive publications featuring Mario Pedrosa’s criticism, bringing the different phases of his scholarship together in thematically organized volumes. Volume 1 is Política das artes (The Politics of Arts); Volume 2, Forma e percepção estética (Form and Aesthetic perception); Volume 3, Acadêmicos e modernos (Academics and the Moderns); and Volume 4, Modernidade cá e lá (Modernity Here and There). In Portuguese.
  127.  
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  129.  
  130. Schwarz, Roberto. Misplaced Ideas: Essays on Brazilian Culture. Edited by John Gledson. London: Verso, 1992.
  131.  
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  133.  
  134. Influenced by Marxist theory, Scharz is among Brazil’s leading literary critics and theorists on Brazilian culture and society. Covers a wide range of topics from 19th-century literature to the modernist movement to important cinematic productions with an emphasis on the construction of Brazilian identity.
  135.  
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  137.  
  138. History of Exhibitions and Display
  139. This section covers sources documenting exhibition histories and different modes of display from the 19th century to the 20th century. Levy 1990 is a chronology of all academic exhibits and artists. Luz 2005 includes a brief description of salons in France and Brazil, shedding light on how the French Artist Mission influenced the salons at the School of Fine Arts in Rio de Janeiro. Morais 1995 is a most useful text for contextualizing the history of exhibitions in Rio de Janeiro from the 19th to 20th century, with a handy chronology, the main artists involved, and important historical details. The São Paulo Bienal Foundation has now digitized all of its exhibition catalogues (which for the most part are bilingual) facilitating studies on the history of the Bienal in Brazil (see São Paulo Bienal). Recent publications such as Alambert and Canhête 2004 situate the historic impact of the biennials in Brazilian art more broadly. Most of the texts are only available in Portuguese although recent dissertations and articles suggest that more studies are forthcoming in English. Museu de Arte Moderna 2008 brings together leading scholars, curators and critics to reflect on the history of exhibiting modern and contemporary art at the Museum of Modern Art in São Paulo.
  140.  
  141. Alambert, Francisco, and Polyana Canhête. As Bienais de São Paulo: Da era do Museu à era dos curadores (1951–2001). São Paulo: Boitempo, 2004.
  142.  
  143. Save Citation »Export Citation »E-mail Citation »
  144.  
  145. Puts the different biennials from inception to 2000 into historical context with four sections: the first on the years preceding the bienal, the second on the establishment of museums, the third on the role of Matarrazo, and the fourth on new curatorial approaches. Useful installation shots in black/white. In Portuguese.
  146.  
  147. Find this resource:
  148.  
  149. Levy, Carlos Roberto Maciel. Exposições gerais da academia imperial e da escola nacional de belas artes: Período monárquico: Catálogo de artistas e obras entre 1840e 1884. 2 vols. Rio de Janeiro: Pinacoteca, 1990.
  150.  
  151. Save Citation »Export Citation »E-mail Citation »
  152.  
  153. A chronology of all academic exhibits in Rio. In Portuguese with no critical or theoretical texts, this source is useful for identifying the artists involved and the works displayed.
  154.  
  155. Find this resource:
  156.  
  157. Luz, Angela Ancora da. Uma breve história dos salões de arte: Da Europa ao Brasil. Rio de Janeiro: Caligrama, 2005.
  158.  
  159. Save Citation »Export Citation »E-mail Citation »
  160.  
  161. Traces the history of salons in France and Brazil, giving a detailed glimpse into how the French Artistic Mission influenced the salons at Escola de Belas Artes and the relationships between art and society in 19th-century Brazil. Color illustrations with short artist biographies. In Portuguese.
  162.  
  163. Find this resource:
  164.  
  165. Morais, Frederico. Cronologia das artes plásticas no Rio de Janeiro: Da missão artística francesa à geração 90: 1816, mil oitocentos e dezesseis a mil novecentos e noventa e quatro, 1994. Rio de Janeiro: Topbooks, 1995.
  166.  
  167. Save Citation »Export Citation »E-mail Citation »
  168.  
  169. An incredibly useful chronology of all the major exhibits in different venues, including salons, galleries, museums, with helpful information about the main artists involved, the historical context and any of the conflicts generated by the display. In Portuguese.
  170.  
  171. Find this resource:
  172.  
  173. Museu de Arte Moderna, ed. História E(n) Movimento: MAM 60 Anos; Actas del Coloquio Internacional Historia y (en) Movimiento / History and (in) Movement: 60 Years MAM; Minutes of the International Colloqium MAM60. São Paulo: Museu de Arte Moderna, 2008.
  174.  
  175. Save Citation »Export Citation »E-mail Citation »
  176.  
  177. In commemoration of the Museum of Modern Art in São Paulo, this publication brings together leading curators, critics, and historians in different essays broaching the topic of museology in Brazil. Bilingual.
  178.  
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  180.  
  181. São Paulo Bienal.
  182.  
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  184.  
  185. A recent initiative by the Foundation for the São Paulo Bienal led to the digitization of all the catalogues from 1951 to 2008. Extremely useful for students; the majority of the texts are bilingual.
  186.  
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  188.  
  189. The 19th Century
  190. Scholarship on 19th-century Brazilian art is focused on the establishment of the Art Academy during the imperial era and Traveler Artists reports, particularly their depiction of Brazilian landscapes, people, and customs. Belluzzo 2000 is a survey of depictions of Brazil in the work of traveler artists. Many of the available sources on the 19th century attend to academic painting and, in particular, the work of Victor Meireles, Pedro Américo, and Almeida Júnior and their works’ display in official salons. There is a scarcity of scholarly texts in English on the 19th century in Brazilian art, despite the fact that it is when the academy was founded and when the idea of a nationally specific art was cultivated; although this is beginning to change with increasing publications of articles by Brazilian scholars. Coli 2005, a very brief didactic text, is useful as a point of departure. Bueno 2004 is a beautifully illustrated catalogue of works in the Fadel collection, one of the most comprehensive for 19th-century art. Pereira 2008 is panoramic in scope, contextualizing academic artworks and the context in which they were created. Schwarcz 2004, while not limited to artistic production, is an excellent and well-documented history of the period and the role of the monarchy in generated the cultural context of 19th-century Brazil. Kossoy, et al. 1994 is unique study of iconography focused on Brazilians of African descent.
  191.  
  192. Belluzzo, Ana Maria de Moraes. O Brasil dos viajantes. 3 vols. 3d ed. São Paulo: Objetiva, 2000.
  193.  
  194. Save Citation »Export Citation »E-mail Citation »
  195.  
  196. Collection of important works produced by artists, scientists, and travelers in Brazil from the 16th to 19th centuries. Focusing on prints, maps, paintings, drawings, tapestries, and other media, these three volumes provide an extensive overview of Brazilian identity in formation.
  197.  
  198. Find this resource:
  199.  
  200. Bueno, Alexei. O Brasil do século XIX no Coleção Fadel. Rio de Janeiro: Instituto Cultural Sergio Fadel, 2004.
  201.  
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  203.  
  204. Focuses on 205 paintings from 19th-century Brazil from the Fadel Collection. Among the themes explored are the sea, landscapes, city life, labor, the place of the artist, and the glorification of the nation. Richly illustrated with excellent color images for teaching.
  205.  
  206. Find this resource:
  207.  
  208. Coli, Jorge. Como estudar a arte brasileira do século XIX? São Paulo: Senac, 2005.
  209.  
  210. Save Citation »Export Citation »E-mail Citation »
  211.  
  212. An introduction to the 19th century via the work of the three most well-known academic painters: Vítor Meireles, Pedro Américo, and Almeida Júnior. Each chapter concentrates on one painting discussing its context, the historical event it narrates, and its artistic influences.
  213.  
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  215.  
  216. Kossoy, Boris, Maria Luiza, and Tucci Carneiro. O olhar europeu: O negro na iconografia brasileira do século XIX. São Paulo: Edusp, 1994.
  217.  
  218. Save Citation »Export Citation »E-mail Citation »
  219.  
  220. Chronicles representations in paintings and photographs of Afro-Brazilians by European travelers in Brazil during the 19th century. Provides detailed historical context surrounding the works. In Portuguese.
  221.  
  222. Find this resource:
  223.  
  224. Pereira, Sonia Gomes. Arte brasileira no século XIX. Belo Horizonte, Brazil: Editora C/Arte, 2008.
  225.  
  226. Save Citation »Export Citation »E-mail Citation »
  227.  
  228. Examines issues of cultural and artistic production in 19th-century Brazil and how European academic conventions, especially from the French Artistic Mission, influenced the visual arts starting in the early 1800s.
  229.  
  230. Find this resource:
  231.  
  232. Schwarcz, Lilia Moritz. The Emperor’s Beard: Dom Pedro II and the Tropical Monarchy of Brazil. Translated by John Gledson. New York: Hill and Wang, 2004.
  233.  
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  235.  
  236. Translation of Schwarcz’s biography of the revered leader Emperor Dom Pedro II, As Barbas do Imperador: D. Pedro II, um Monarca nos Trópicos (São Paulo, Brazil: Companhia das Letras, 1998). Written by a social anthropologist, this book reads both like a biography and interpretive essay. Draws from primary sources and unpublished documents that provide a unique vision of the monarchy during the 19th century. Important historical context for an understanding of 19th century in Brazil.
  237.  
  238. Find this resource:
  239.  
  240. The Mission and the Academy
  241. In 1816, the French Artistic Mission, a group of French artists arrived in Rio de Janeiro to establish the first art academy for training artists. Schwarcz 2008 recounts the life of French artist Nicholas Taunay, the most important of the group, contesting long-held myths about the history of the mission along the way. The French Artistic Mission, comprised largely of European—namely, French—artists relied largely on foreign models to depict Brazilian landscapes and people, explored in Bandeira, et al. 2003. This topic and its social impact is convincingly broached in Cardoso 2000. The establishment of the first artistic institution dedicated to the teaching of art, the Royal School of Sciences, Arts and Crafts, which was later renamed the Imperial Academy of Fine Arts (it underwent several other name changes through the century), led to the cultivation of a more nationally specific, Brazilian aesthetic, a topic explored in the recent essay Cardoso 2012. Pereira 2001–2002 brings together a group of scholars detailing artistic education at the School of Fine Arts in a variety of media including painting, sculpture, and engraving.
  242.  
  243. Bandeira, Júlio Conduru, Pedro Martins Caldas Xexéo, and Roberto Conduru. A missão francesa/Xexéo, Pedro Martins Caldas. Rio de Janeiro: Sextante Artes, 2003.
  244.  
  245. Save Citation »Export Citation »E-mail Citation »
  246.  
  247. Examines 19th-century art and how the French Artistic Mission along with other expatriate artists from Europe influenced techniques and aesthetics in Brazilian art, especially in terms of classical and neoclassical ideals.
  248.  
  249. Find this resource:
  250.  
  251. Cardoso, Rafael. “Academism, Imperialism and National Identity: The Case of Brazil’s Academia Imperial de Belas Artes.” In Art and the Academy in the Nineteenth Century. Edited by Rafael Cardoso Denis and Colin Trodd, 53–67. Manchester, UK: Manchester University Press, 2000.
  252.  
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  254.  
  255. One of few English-language texts on the Academia Imperial de Belas Artes discusses academic practices in 19th-century Brazil and how both affirmed the persistence of European cultural influence as well as an affirmation of Brazilian national identity.
  256.  
  257. Find this resource:
  258.  
  259. Cardoso, Rafael. “The Brazilianness of Brazilian Art.” Special Issue: “Bursting on the Scene”: Looking Back at Brazilian Art. Edited by Sérgio Bruno Martins. Third Text 26.1 (2012): 17–28.
  260.  
  261. DOI: 10.1080/09528822.2012.647643Save Citation »Export Citation »E-mail Citation »
  262.  
  263. Traces how the academy affected the development of a cultural and national identity and Brazil’s struggle to define a national culture distinct from its colonial past. Focuses on the period between 1850 and 1930. In English; useful for class on this period. Available online for purchase or by subscription.
  264.  
  265. Find this resource:
  266.  
  267. Pereira, Sonia Gomes, ed. 185 anos de Escola de Belas Artes. Rio de Janeiro: Programa de Pós-Graduação em Artes Visuais, Escola de Belas Artes, 2001–2002.
  268.  
  269. Save Citation »Export Citation »E-mail Citation »
  270.  
  271. A collection of essays by scholars elaborating on artistic education, including the teaching of painting, sculpture, engraving and architecture, in Brazil during the 19th century. In Portuguese.
  272.  
  273. Find this resource:
  274.  
  275. Schwarcz, Lilia Moritz. O sol do Brasil: Nicolas-Antoine Taunay e as desventuras dos artistas franceses na corte de d. João. São Paulo: Companhia das Letras, 2008.
  276.  
  277. Save Citation »Export Citation »E-mail Citation »
  278.  
  279. Written by a social anthropologist, this book explores the life of the French painter Taunay, who arrived in Brazil in 1816 (along with painters Jean-Baptiste Debret e Grandjean de Montigny) with the intention of becoming the royal painter. In Portuguese and well illustrated with black/white images.
  280.  
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  282.  
  283. Traveler Artists
  284. During the 19th century, a number of European artists (most commonly French, German, and British) led expeditions throughout the vast territory of Brazil chronicling the landscapes, people, and traditions that they encountered in drawings, watercolors, and painting. French artist Jean-Baptiste Debret is perhaps the best known of these traveler artists, favored by the imperial court in Rio. Debret founded the Imperial Academy of Fine Arts in 1826, where he also taught painting, and is best known for his Picturesque and Historical Voyage to Brazil, first published upon his return to Paris during the 1830s. Debret 1834, a three-volume compendium, is heavily illustrated with lithographs of watercolors drawn from his observations of everyday life in Brazil, with an emphasis on representations of African slaves and indigenous people. Concurrent to Debret, German traveler artists Johann Moritz Rugendas came to Brazil in 1821 and also depicted local Brazilian life with a particular concentration on representations of the people he encountered and botanical life. Rugendas 1835, illustrated with one hundred lithographs, was widely circulated and is one of the most important texts about life in the 19th century. Diener and Costa 2002 commemorates Rugendas’s continuing importance with an illustrated catalogue of his artistic production, briefly contextualized. Komissarov 1988 brings together the drawings and watercolors of traveler artists Rugendas, Aimé-Adrien Taunay, and Florence from their voyage to the Amazon with Georg Heinrich von Langsdorff. Squeff 2010 is a comparative case study on the landscape paintings of Rugendas and the work of Brazilian artist Georg Heinrich von Langsdorff Manoel de Araújo Porto Alegre. Catlin 1989 is a useful, brief overview on the topic of traveler artists in Latin America in English. Martins 2001 is a more focused case study on British travelers depicting Rio’s landscapes.
  285.  
  286. Catlin, Stanton L. “Traveller-Reporter Artists and the Empirical Tradition in Post-Independence Latin American Art.” In Art in Latin America: The Modern Era, 1820–1980. Edited by Dawn Ades, Guy Brett, Stanton Catlin, et al., 41–62. New Haven, CT: Yale University Press, 1989.
  287.  
  288. Save Citation »Export Citation »E-mail Citation »
  289.  
  290. Drawn from a text on Latin American Art, this chapter is one of few English-language essays on how traveler artists portrayed Brazilian landscapes by employing both European and indigenous traditions. Useful as a classroom text.
  291.  
  292. Find this resource:
  293.  
  294. Debret, Jean Baptiste. Voyage pittoresque et historique au Brésil. 3 vols. Paris: Firmin Didot frères, 1834.
  295.  
  296. Save Citation »Export Citation »E-mail Citation »
  297.  
  298. Three-volume set of 156 lithographs accompanied by narrative text first published in Paris. One of the most referenced books from the 19th century on traveler artist narratives, which documented his experiences of nature, people, and society during his stay.
  299.  
  300. Find this resource:
  301.  
  302. Diener, Pablo, and Maria de Fátima Gomes Costa. Rugendas e o Brasil. São Paulo: Capivara, 2002.
  303.  
  304. Save Citation »Export Citation »E-mail Citation »
  305.  
  306. Commemorating two hundred years of traveler artist Rugendas’s year of birth, this illustrated volume features color illustrations of his most well-known drawings, watercolors, and oil paintings followed by brief historical and contextual texts. Useful as a reference source. In Portuguese.
  307.  
  308. Find this resource:
  309.  
  310. Komissarov, Boris. Expedição Langsdorff Ao Brasil, 1821–1829. 3 vols. Rio de Janeiro: Edições Alumbramento, Livroarte Editora, 1988.
  311.  
  312. Save Citation »Export Citation »E-mail Citation »
  313.  
  314. In English and Portuguese, this three-volume publication brings together texts by Komissarov and the drawings and watercolors of Rugendas, Aimé-Adrien Taunay (the son of Nicolas Taunay) and Hercules Florence accompanying German born Georg Heinrich von Langsdorff on his expedition from Rio to the Amazon from 1822–1829. Each volume is devoted to one of the artists.
  315.  
  316. Find this resource:
  317.  
  318. Martins, Luciana de Lima. O Rio de Janeiro dos viajantes: O olhar britânico, 1800–1850. Rio de Janeiro: Jorge Zahar Editora, 2001.
  319.  
  320. Save Citation »Export Citation »E-mail Citation »
  321.  
  322. Study of renowned British travelers such as Darwin and their depictions of Rio de Janeiro during the 19th century.
  323.  
  324. Find this resource:
  325.  
  326. Rugendas, Johann Moritz. Voyage pittoresque dans le Bresil. Paris: Engelmann & Cie., 1835.
  327.  
  328. Save Citation »Export Citation »E-mail Citation »
  329.  
  330. French translation of the original German account of Rugendas’s journey through Brazil with over one hundred lithographs depicting the people, life, and customs of Brazil. Has some particularly striking images depicting the horrors of slavery and is a useful source for many disciplines.
  331.  
  332. Find this resource:
  333.  
  334. Squeff, Leticia. “In the Heart of Picturesque Brazil: The Tropical Forest in Rugendas and Porto Alegre.” Special Issue: Iconografia e história: Artesãos, artífices, artistas e o Brasil (Séculos XVIII e XIX)/Iconography and History: Craftsmen, Tradesmen, Artists and Brazil (18th and 19th Centuries). Edited by Carla Mary S. Oliveira. Portuguese Studies Review 18.1 (2010): 179–202.
  335.  
  336. Save Citation »Export Citation »E-mail Citation »
  337.  
  338. A discussion and analysis of drawings by the traveler artist Rugendas and the historical academic painter Manoel de Araújo Porto Alegre with an emphasis on the conditions of landscape painting.
  339.  
  340. Find this resource:
  341.  
  342. The 20th Century
  343. While the literature on 20th-century Brazilian art is the most abundant with regard to numbers of publications, there is a heavy cluster of monographs on specific artists. This section has been divided to reflect the scholarly trends in this category. Although there is an abundance of exhibition catalogues and monographs on individual artists from this period, these are sparsely represented in this section. Included here are publications that survey different moments of the 20th century. The subsection Geometric Abstraction points to the turn toward abstract forms through different phases of constructivist art and its unique iterations in Brazil. This section includes literature on concrete art and its offshoot, neoconcrete art. This first section introduces general overviews the broach the 20th century more broadly, either through a study of important artists or themes through exhibitions or topical studies such as the role of politics in art. The recent exhibit, Brito, et al. 2011 covers over fifty years of artistic production into the present, organized into three sections: 1950s, 1960–1980s, and 1990s to the present. Amaral 2006 is a three-volume compilation of interviews and brief texts on some of the most pressing issues in Brazilian art (and partially Latin American art) from the 20th century. The English critic Guy Brett played an important role in introducing Brazilian artists to the English-speaking world, and in Brett 2005, he and Brazilian artist Katia Maciel bring together brief but pithy texts on fifteen well-known artists spanning the 1960s to today. Fabris and Da Costa 1998 is a scholarly and thematic study of 20th-century art and its relationship to politics. Covering the prominent artistic moments of the 20th century, Gonçlaves 2007 includes a wide range of texts by leading voices in art history and criticism that are lesser known outside of Brazil. Ortiz 1988 is one of the best sociological studies on the question of identity permeating so much of Brazilian art during the 20th century; it is an excellent study on the role of cultural production in forging a sense of Brazilian nationalism. The essays in Ramírez and Olea 2004 explore the different facets of the avant-garde in Latin America, with a number of scholarly texts dedicated to the Brazilian context in English. Scovino 2009 is targeted toward a broad audience of scholars, students, and those with an interest in encountering the voices of some of the most well-known names in Brazilian 20th-century art.
  344.  
  345. Amaral, Aracy A. Textos do Trópico de Capricórnio: artigos e ensaios (1980–2005). 3 vols. São Paulo, Editora 34. 2006.
  346.  
  347. Save Citation »Export Citation »E-mail Citation »
  348.  
  349. Uniting texts written by Amaral from 1980 to 2005, this three-volume series covers a wide range of topics related to modernism in Brazil, the Bienal and contemporary art, and finally art circuits in Latin America and Brazil. Brief texts and interviews are useful for their wide-ranging scope but lack a scholarly bibliography and footnotes. In Portuguese.
  350.  
  351. Find this resource:
  352.  
  353. Brett, Guy. Brasil experimental: Arte/vida, proposições e paradoxos. Translated by Renato Rezende. Edited by Katia Maciel. Rio de Janeiro: Contracapa, 2005.
  354.  
  355. Save Citation »Export Citation »E-mail Citation »
  356.  
  357. The British critic Guy Brett’s writings on Brazilian artists from the 1960s to the present. Amply illustrated with a focus on more contemporary artistic propositions that approximate real life situations. There are fifteen sections, each dedicated to one of Brazil’s most well-known contemporary artists. Translated into Portuguese.
  358.  
  359. Find this resource:
  360.  
  361. Brito, Ronaldo, Guilherme Bueno, and Sonia Salcedo, eds. Art in Brazil, 1950–2011. Brussels: Europalia International, 2011.
  362.  
  363. Save Citation »Export Citation »E-mail Citation »
  364.  
  365. Accompanying an exhibit held at Europalia Belgium, this catalogue unites a number of key critical texts including manifestos translated into English. Organized in three parts, Constructive Will (1950s), Dictatorship (1960s–1980s), Construction and Deconstruction (1990s to present), these texts would be useful for a class on modern or contemporary art. With ample illustrations, the catalogue includes translated texts by well-known critics and artists, interspersed with lesser known voices. In English.
  366.  
  367. Find this resource:
  368.  
  369. Fabris, Annateresa, ed. Arte & política algumas possibilidades de leitura. Belo Horizonte, Brazil: Editora C/Arte, 1998.
  370.  
  371. Save Citation »Export Citation »E-mail Citation »
  372.  
  373. Six essays exploring the relationship between art and politics in Brazilian art throughout the 20th century, with topics ranging from Metro Art, Portinari’s paintings for the United Nations, the art market, and the neo avant-garde in Brazil during the 1960s. In Portuguese.
  374.  
  375. Find this resource:
  376.  
  377. Gonçlaves, Lisbeth Rebello, ed. Arte brasileira no século XX. São Paulo: ABCA, 2007.
  378.  
  379. Save Citation »Export Citation »E-mail Citation »
  380.  
  381. The fifth volume in a series of texts on art criticism, this publication compiles seventeen texts on twentieth-century Brazilian art, from modernity to the 1970s, including a number of critics and art historians that are lesser known outside of Brazil. Organized chronologically and thematically, this volume covers most of the decades in the 20th century, through the 1980s. Chronology included. In Portuguese.
  382.  
  383. Find this resource:
  384.  
  385. Ortiz, Renato. Moderna tradição brasileira, cultura brasileira e indústria cultural. São Paulo: Editora Brasiliense, 1988.
  386.  
  387. Save Citation »Export Citation »E-mail Citation »
  388.  
  389. A sociological study on the forging of a Brazilian identity in the 20th century and the role of cultural production in doing so. Extremely useful as supplementary reading for understanding modernity and Brazilian culture. In Portuguese.
  390.  
  391. Find this resource:
  392.  
  393. Ramírez, Mari Carmen, and Héctor Olea. Inverted Utopias: Avant-Garde Art in Latin America. New Haven, CT: Yale University Press, 2004.
  394.  
  395. Save Citation »Export Citation »E-mail Citation »
  396.  
  397. This exhibition catalogue from a show held at the Museum of Fine Art in Houston, unites a series of scholarly essays on the formation of the avant garde in Latin America during the 1920s and in the post-Second World War period. Although not limited to Brazilian art, there are a significant number of texts on Brazil and important translations of primary texts such as manifestos, artist biographies, and bibliographies. An important source for those interested in the 20th century. In English.
  398.  
  399. Find this resource:
  400.  
  401. Scovino, Felipe. Arquivo contemporâneo. Rio de Janeiro: 7 Letras, 2009.
  402.  
  403. Save Citation »Export Citation »E-mail Citation »
  404.  
  405. Interviews with Brazilian renowned contemporary artists Adriana Varejão, Anna Bella Geiger, Antonio Dias, Artur Barrio, Cao Guimarães, Carlos Vergara, Chelpa Ferro, Cildo Meireles, Ernesto Neto, Raul Mourão, Ricardo Basbaum, and Tunga e Waltercio Caldas, about their experiences in the world of contemporary art. Useful supplement for research on these artists.
  406.  
  407. Find this resource:
  408.  
  409. Modern Art
  410. This section brings together texts on the seminal inaugurating 1922 event Semana de Arte Moderna (Modern Art Week), a defining moment in the shift away from academic, figurative art privileging history and landscape painting to a more experimental, expressionist, and cubist aesthetic influenced by characteristics drawn from Afro-Brazilian and indigenous cultures. The event is recreated in Schwartz 2003 and cultural climate of the 1920s is described in Schwartz 2002 and Amaral 2005. Along with this shift came a more heightened awareness of the need for an art form to express a Brazilian national identity, an idea that was crystallized and disseminated in the publication of Oswald de Andrade’s Manifesto Antropófago in 1929, translated and explained at length in Bary 1991. These ideas found aesthetic form in Tarsila do Amaral’s paintings from the 1920s and the recent three-volume catalogue raisonné on her oeuvre is a testament to her importance for this vibrant artistic moment (Saturni and Barros 2008). Zílio 1997 explores the question of national identity beyond the Modern Art Week event. The 1930s and 1940s were dominated by social realist painting, as illustrated in the work of Candido Portinari, arguably Brazil’s most well-known painter from the 20th century. His work is now well documented in Portinari 2004, an extensive five-volume catalogue raisonné. Fabris 1994 is a broader reflection on the differences between modernism and modernity in relation to Brazilian art.
  411.  
  412. Amaral, Aracy A. Arts in the Week of ’22. 5th ed. São Paulo: Editora 34, 2005.
  413.  
  414. Save Citation »Export Citation »E-mail Citation »
  415.  
  416. A translation of Amaral’s book from 1970 on the seminal event, Semana de Arte Moderna (Modern Art Week) from 1922. Contextualizes the events by talking about the art from the first two decades of the 20th century with a discussion of nationalism and internationalism. Includes biographic details on the participants of the event and bibliographic sources for further research.
  417.  
  418. Find this resource:
  419.  
  420. Bary, Leslie. “Introduction. Oswald de Andrade’s ‘Cannibalist Manifesto.’” Latin American Literary Review 19.38 (1991): 35–47.
  421.  
  422. Save Citation »Export Citation »E-mail Citation »
  423.  
  424. An annotated translation of the “Anthropophagite Manifesto” with detailed explanations of indigenous words and linguistic puns deliberately inserted by the author, Oswald de Andrade. A useful text to assign for students, particularly for those without familiarity of Portuguese. Available online for purchase or by subscription.
  425.  
  426. Find this resource:
  427.  
  428. Fabris, Annateresa, ed. Modernidade e modernismo no Brasil. Campinas, Brazil: Mercado de Letras, 1994.
  429.  
  430. Save Citation »Export Citation »E-mail Citation »
  431.  
  432. The focus is on thinking through some of the differences and disjunctures between modernity and modernism in Brazil, by way of understanding the implications of modern art. In Portuguese.
  433.  
  434. Find this resource:
  435.  
  436. Portinari, João Candido. Cândido Portinari: catálogo raisonné. 5 vol. Rio de Janeiro: Projeto Portinari, 2004.
  437.  
  438. Save Citation »Export Citation »E-mail Citation »
  439.  
  440. A five-volume publication documenting the entirety of Portinari’s oeuvre. Color illustrations and CD are included. The extensive bibliography on one of most well-known artists of Brazilian modern art is helpful to students researching this era. Additionally, the visual documentation of the different periods in the artist’s life gives an important panorama of modern art in the first half of the 20th century in Brazil.
  441.  
  442. Find this resource:
  443.  
  444. Saturni, Maria Eugênia, and Regina Teixeira de Barros, eds. Tarsila: Catálogo raisonné Tarsila do Amaral. 3 vols. São Paulo: Base 7 Projetos Culturais: Pinacoteca do Estado de São Paulo, 2008.
  445.  
  446. Save Citation »Export Citation »E-mail Citation »
  447.  
  448. This expansive three-volume catalogue raisonné comprises Tarsila’s (she is often referred to by her first name) paintings, drawings, illustrations, engravings, and sculptures. It also includes a photographic biography and a cd with images. The accompanying website is an extremely useful tool for students, researchers, and anyone interested in her work (or Brazilian modern art in general) with a database of images, a well-organized, comprehensive reference section citing texts by and on Tarsila as well as different facets of her work.
  449.  
  450. Find this resource:
  451.  
  452. Schwartz, Jorge. “Literature and the Visual Arts: The Brazilian Roaring Twenties.” Visiting Resource Professor Papers at the University of Texas, Austin Latin American Studies Department, 2002.
  453.  
  454. Save Citation »Export Citation »E-mail Citation »
  455.  
  456. An excellent text on the cultural context of Modern Art week in Brazil. Highlights some of the connecting links with literature.
  457.  
  458. Find this resource:
  459.  
  460. Schwartz, Jorge. Caixa modernista. São Paulo: Edusp, 2003.
  461.  
  462. Save Citation »Export Citation »E-mail Citation »
  463.  
  464. Literally a box, this source recreates the seminal Modern Art Week exhibition through a compilation of postcard reproductions of the works exhibited, programs, and a facsimile of the journal where the “Anthropophagite Manifesto” first appeared. A great resource for undergraduates to gain a better understanding of this unique moment in Brazilian art.
  465.  
  466. Find this resource:
  467.  
  468. Zílio, Carlos. A querela do Brasil: A questão da identidade da arte brasileira: A obra de Tarsila, Di Cavalcanti e Portinari, 1922–1945. 2d ed. Rio de Janeiro: Relume-Dumará, 1997.
  469.  
  470. Save Citation »Export Citation »E-mail Citation »
  471.  
  472. Looking beyond Modern Art Week, Zilio, an artist and critic tackles the question of national identity in the work Tarsila, Di Cavalcanti, and Portinari, three of the most well-known painters associated with modern art in Brazil.
  473.  
  474. Find this resource:
  475.  
  476. Geometric Abstraction
  477. Many histories of Brazilian concrete art locate its European influences, particularly in figures such as Max Bill, Mondrian, and Malevich. It is important to keep in mind that concrete art in Brazil was closely aligned with concrete poetry and architecture (see Cintrão and Nascimento 2002), sharing with them the objective to move away from the strictly national and regional languages characteristic of Brazilian modern art and instead adapt a more international language or style, a shift explored in the edited volumes Amaral 1977 and Cocchiarale and Geiger 1987. Amaral 1998 details the shift drawing on the Adolpho Leirner collection of constructivist works from Brazil, amply illustrated in Ramirez 2007. In fact, the international style in Brazilian architecture is often invoked with regard to architect Oscar Niemeyer’s work during the 1950s, discussed in the Architecture and Urbanism section. Neoconcrete art, first formalized in 1959 with the group’s first exhibit and manifesto (published in the Sunday supplement of the newspaper Jornal do Brasil), was a short-lived movement but the artists associated with it—Lygia Clark, Lygia Pape, and Hélio Oiticica—went on to become the most well-known artists outside of Brazil. A reprint from the original catalogue for the show, along with images and newspaper articles is available in Gullar 2007. The rupture between concrete art and neoconcrete art is explained in further detail in Brito 1999. Bois, et al. 2001 includes helpful essays on constructivism and comparative perspectives, including its manifestation in other Latin American countries and the United States.
  478.  
  479. Amaral, Aracy. “The Advent of Geometric Abstraction in Brazil.” In Constructive Art in Brazil: Adolpho Leirner Collection. Edited by Aracy Amaral, 29–63. São Paulo: Companhia Melhoramentos, 1998.
  480.  
  481. Save Citation »Export Citation »E-mail Citation »
  482.  
  483. An excellent overview in English on the emergence of geometric abstraction in Brazil. Amaral draws on lesser-known Brazilian artists from the 1920s, such as Vicente do Rego Monteiro, Regina Gomide, and John Graz and indigenous culture and motifs as influences for the geometric turn. Features works from the Leirner collection, among the most important for artists working in the constructive tradition in Brazil.
  484.  
  485. Find this resource:
  486.  
  487. Amaral, Aracy A., ed. Projeto construtivo brasileiro na arte (1950–1962). Rio de Janeiro: Museu de Arte Moderna do Rio de Janeiro, 1977.
  488.  
  489. Save Citation »Export Citation »E-mail Citation »
  490.  
  491. Catalogue accompanying an exhibition at the Museum of Modern Art in Rio and Pinacoteca do Estado Sao Paulo. Organized by Amaral, the book unites manifestos and essays by leading figures in concrete and neoconcrete art such as Waldemar Cordeiro and Ferreira Gullar.
  492.  
  493. Find this resource:
  494.  
  495. Bois, Yve-Alain, Mary Schneider Enriquez, Paulo Herkenhoff, Ariel Jiménez, and Luis Enrique Pérez Oramas. Geometric Abstraction: Latin American Art From the Patricia Phelps de Cisneros Collection/Abstracción geométrica: arte Latinoamericano en la colección Patricia Phelps de Cisneros. Cambridge, MA: Harvard University Art Museums, 2001.
  496.  
  497. Save Citation »Export Citation »E-mail Citation »
  498.  
  499. A collection of essays on geometric abstraction in Latin America accompanying an exhibit at the Fogg Art Museum in Harvard. Includes a number of primary documents translated into English. Paulo Herkenhoff’s essay comparing neoconcretism and minimalism is particularly useful for those with no background in Brazilian art. Bilingual Spanish/English.
  500.  
  501. Find this resource:
  502.  
  503. Brito, Ronaldo. Neoconcretism: Apex and Rupture of the Brazilian Constructivist Project. Translated by Gabriel Pérez-Barreiro. São Paulo: Cosac & Naify, 1999.
  504.  
  505. Save Citation »Export Citation »E-mail Citation »
  506.  
  507. Translation of Brito’s 1985 seminal publication detailing the rupture between the concrete and the neoconcrete movement that it spurred.
  508.  
  509. Find this resource:
  510.  
  511. Cintrão, Rejane, and Ana Paula Nascimento. Grupo Ruptura. São Paulo: Cosac & Naify, 2002.
  512.  
  513. Save Citation »Export Citation »E-mail Citation »
  514.  
  515. Text on the São Paulo concrete art group, Grupo Ruptura, includes information on their first exhibition from 1952, bios of the artists involved in the group, color illustrations of their work, and a useful chronology. In Portugese and English. A useful source for students of concrete art.
  516.  
  517. Find this resource:
  518.  
  519. Cocchiarale, Fernando, and Anna Bella Geiger, eds. Abstracionismo, geométrico, e informal: A vanguarda brasileira nos anos cinqüenta. Rio de Janeiro: FUNARTE, 1987.
  520.  
  521. Save Citation »Export Citation »E-mail Citation »
  522.  
  523. An important reference source for the study of Brazilian art of the 1950s and the turn to abstraction. Unites primary texts with a series of interviews with both the leading theorists and artists.
  524.  
  525. Find this resource:
  526.  
  527. Gullar, Ferreira. Experiência neoconcreta: Limite da arte. São Paulo: Cosac Naify, 2007.
  528.  
  529. Save Citation »Export Citation »E-mail Citation »
  530.  
  531. A bilingual edition that unites important texts on the neoconcrete movement in Brazil by one of its most active theorist and collaborator, the poet Gullar. Includes important color illustrations, reprints of theories associated with the movement, newspaper articles, and a facsimile of the catalogue for the watershed moment that forged the neoconcrete movement, their first exhibit. A bonus reprint of three of Gullar’s livro poemas (poem books).
  532.  
  533. Find this resource:
  534.  
  535. Ramírez, Mari Carmen. Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection. Houston, TX: Museum of Fine Arts, 2007.
  536.  
  537. Save Citation »Export Citation »E-mail Citation »
  538.  
  539. This lavishly illustrated exhibition catalogue accompanying works from the Leirner collection (recently purchased by the Museum of Fine Arts in Houston). Useful texts on the Brazilian concrete art groups of the 1950s, Grupo Frente in Rio de Janeiro and Grupo Frente in São Paulo.
  540.  
  541. Find this resource:
  542.  
  543. Contemporary Art
  544. The category of contemporary art is more difficult to circumscribe chronologically, but in the majority of instances it spans the 1960s to the present. Given the political conditions following the military coup in 1964, many of the artists working during the time of the dictatorship were politically engaged and the tone of artistic production from the 1960s and 1970s attests to this political influence as artists adapted pop, neofigurative and conceptual art to express their critique of the regime, often including politically charged messages in their work. The 1960s and 1970s also witnessed an explosion of communications technologies and many artists began to incorporate new media, such as the computer, television, and video into their practice. During the 1980s and following the end of the military dictatorship, many artists moved away from the more politically inflected work of the previous decade, and painting made a strong comeback. In the past few decades the growing presence of contemporary Brazilian art in international galleries, art fairs and biennials has led to a surge in publications, which include reviews, criticism, and essays in catalogues, but scholarly sources on this period are still scarce.
  545.  
  546. 1960s and 1970s
  547. Scholarship on the 1960s and 1970s in Brazilian art often attends to the influence of pop and conceptual art within the specificity of the Brazilian political context, in particular the military dictatorship that began in 1964 and ended in 1985 (see Calirman 2012; Zanini 1994). Duarte 1998 chronicles a broad range of artistic practices and their social context during the 1960s with high quality color illustrations. Ribeiro 1997 is a unique study of avant garde practices of the 1960s in Belo Horizonte, outside the Rio–São Paulo circuit. Basualdo 2005, an exhibition catalogue, looks at the broader cultural context of the late 1960s through the lens of Tropicalia, a popular musical movement and the name of an installation by Hélio Oiticica 1967 first shown at the New Objectivity exhibit. Ferreira 2009 is the accompanying catalogue to an exhibit containing a rich visual panorama of works from the 1970s across different media from a number of different cities. Freire 1999 chronicles conceptual art as it was practiced and collected at the Museum of Contemporary Art at the University of Sao Paulo, and Shtromberg 2008 is a history of the video art during the 1970s.
  548.  
  549. Basualdo, Carlos, ed. Tropicália: A Revolution in Brazilian Culture (1967–1972). São Paulo: Cosac & Naify, 2005.
  550.  
  551. Save Citation »Export Citation »E-mail Citation »
  552.  
  553. Examines how the Tropicália movement influenced art, music, film, design, and fashion in the late 1960s to early 1970s. Includes a number of critical texts in English on how Tropicalismo occurred contemporaneously with other countercultural movements internationally. Ample illustrations are useful for giving students a visual sense of the era.
  554.  
  555. Find this resource:
  556.  
  557. Calirman, Claudia. Brazilian Art Under Dictatorship: Antonio Manuel, Artur Barrio and Cildo Meireles. Durham, NC: Duke University Press, 2012.
  558.  
  559. Save Citation »Export Citation »E-mail Citation »
  560.  
  561. One of few English-language scholarly studies on the period of Brazilian art during the dictatorship (1964–1985). Book comprises chapters on the three artists in the title with black/white and a few color images scattered throughout as well as a thorough bibliography. Useful text for a class on this period as well as the topic of politics and art.
  562.  
  563. Find this resource:
  564.  
  565. Duarte, Paulo Sérgio. The ’60s: Transformations of Art in Brazil. Rio de Janeiro: Campos Gerais, 1998.
  566.  
  567. Save Citation »Export Citation »E-mail Citation »
  568.  
  569. Amply illustrated, this book (an English translation) focuses a wide range of media and topics in artistic production of the 1960s. Includes a broad array of artists working in new figuration, pop art, and performance. The number of high-quality images and chronology in back make it useful for preparing a class on this topic.
  570.  
  571. Find this resource:
  572.  
  573. Ferreira, Glória, ed. Arte Como Questão: Anos 70. São Paulo: Instituto Tomie Ohtake, 2009.
  574.  
  575. Save Citation »Export Citation »E-mail Citation »
  576.  
  577. Amply illustrated exhibition catalogue on the 1970s. One of the most thorough visual documents on the artistic production of that time. Includes an introductory essay by the curator identifying some of the major challenges of organizing the exhibit. Bilingual.
  578.  
  579. Find this resource:
  580.  
  581. Freire, Cristina. Poeticas Do Processo: Arte Conceitual No Museu. São Paulo: MAC, Universidade de São Paulo, 1999.
  582.  
  583. Save Citation »Export Citation »E-mail Citation »
  584.  
  585. Freire documents the collecting practices of conceptual art (including artist books, videos, mail art, photography, etc.) at the Museum of Contemporary Art at the University of São Paulo by its then-director, Walter Zanini. Along the way she tells the history surrounding these practices. Mostly black/white illustrations; in Portuguese. Useful research on further research for this topic.
  586.  
  587. Find this resource:
  588.  
  589. Ribeiro, Marília Andrés. Neovanguardas: Belo Horizonte, anos 60. Belo Horizonte, Brazil: Editora C/Arte, 1997.
  590.  
  591. Save Citation »Export Citation »E-mail Citation »
  592.  
  593. Ribeiro uses the category of neo avant-garde to explore the artistic production of the 1960s in Belo Horizonte, a lesser-explored center of artistic activity. In Portuguese. Useful source that moves away from the dominance of Rio and São Paulo as artistic centers. Several low-resolution color images in the back.
  594.  
  595. Find this resource:
  596.  
  597. Shtromberg, Elena. “Bodies in Peril: Enacting Censorship in Early Brazilian Video Art (1974–1978).” In The Aesthetics of Risk. Edited by John Welchman, 265–283. Zurich, Switzerland: JRP/Ringier, 2008.
  598.  
  599. Save Citation »Export Citation »E-mail Citation »
  600.  
  601. One of few texts in English on the emergence of early Brazilian video art and its historical conditions and political stakes with regard to censorship and repression. Includes descriptions and in-depth analysis of some of the pioneering works.
  602.  
  603. Find this resource:
  604.  
  605. Zanini, Walter. “Two Difficult Decades: The 60s and 70s.” In Bienal Brasil Século XX. Edited by Nelson Aguilar, 306–321. São Paulo: Fundação Bienal de São Paulo, 1994.
  606.  
  607. Save Citation »Export Citation »E-mail Citation »
  608.  
  609. An essay in the exhibit catalogue for the 1994 São Paulo Bienal on the art produced during the years of the military dictatorship. Zanini describes the transition to the 1960s from the 1950s with mention of pop art and new media. Clunky translation but one of few essays in English.
  610.  
  611. Find this resource:
  612.  
  613. 1980s to the Present
  614. During the 1980s and following the end of the military dictatorship, many artists moved away from the more politically inflected work of the previous decade, and painting made a strong comeback. Many of the artists associated with this transition came to be known as the Geração 80 (’80s Generation), explored in Canongia 2010 and Coutinho and Orloski 2006. Farias 2009 is an exhibition catalogue visually chronicling the 1980s and 1990s. Duarte and Lopes 2008 is encyclopedic in nature but includes interviews with some of the most well-known artists on DVD. Chiarelli 1999, Basbaum 2001, and Ferreira 2009 are edited volumes with critical essays, artist statements, and primary documents on a wide range of topics on contemporary art into the present.
  615.  
  616. Basbaum, Ricardo, ed. Arte Contemporânea Brasileira. Rio de Janeiro: Contra Capa Livraria, 2001.
  617.  
  618. Save Citation »Export Citation »E-mail Citation »
  619.  
  620. A collection of thirty-nine critical essays largely focused on contemporary Brazilian art by many of the leading Brazilian art historians, critics, curators, and artists, with the exception of Guy Brett. In Portuguese.
  621.  
  622. Find this resource:
  623.  
  624. Canongia, Ligia, ed. Anos 80 : Embates de uma geração. Rio de Janeiro: Francisco Alves, 2010.
  625.  
  626. Save Citation »Export Citation »E-mail Citation »
  627.  
  628. Essays by art historians and critics such as Frederico Morais, Ronaldo Brito, Ricardo Basbuam, and so on, on the defining characteristics of the 1980s, often discussed in terms of a return to painting for the more conceptually oriented practices of the 1970s. In Portuguese.
  629.  
  630. Find this resource:
  631.  
  632. Chiarelli, Tadeu. Arte internacional brasileira. São Paulo: Lemos Editorial, 1999.
  633.  
  634. Save Citation »Export Citation »E-mail Citation »
  635.  
  636. A collection of brief texts on many of contemporary artists who are internationally renowned by the art historian Tadeu Chiarelli, who also has a section devoted to modern artists Anita Malfatti and Candido Portinari and to photography in the 1990s. Color illustrations.
  637.  
  638. Find this resource:
  639.  
  640. Coutinho, Christiane Martins, and Erick Orloski, dirs. Tela sem tinta Geração 80/Orloski, Erick. DVD. São Paulo: Instituto Arte na Escola, 2006.
  641.  
  642. Save Citation »Export Citation »E-mail Citation »
  643.  
  644. A documentary on the 1980s generation including interviews with many of the artists that participated in the 1984 exhibit, “Como vai você, Geração 80?” a defining moment for the group of artists from this decade.
  645.  
  646. Find this resource:
  647.  
  648. Duarte, Paulo Sérgio, and Fernanda Lopes. Arte brasileira contemporânea: Um prelúdio. Rio de Janeiro: Silvia Roesler Edições de Arte, 2008.
  649.  
  650. Save Citation »Export Citation »E-mail Citation »
  651.  
  652. A general reference source for Brazilian contemporary art with information on 77 artists. Has a useful DVD for the classroom with footage of many artists and their work.
  653.  
  654. Find this resource:
  655.  
  656. Farias, Agnaldo. 80/90: Modernos, pos-modernos, etc.: Meio século de arte Brasileira. São Paulo: Instituto Tomie Ohtake, 2009.
  657.  
  658. Save Citation »Export Citation »E-mail Citation »
  659.  
  660. Accompanying an exhibit at the Instituto Tomie Ohtake that surveyed the transition to the 1980s and 1990s in Brazilian art. While most texts are translated, it is mostly useful to students interested in getting a visual sense of the most recent artistic production.
  661.  
  662. Find this resource:
  663.  
  664. Ferreira, Glória. Arte Contemporáneo Brasileño: Documentos y críticas. Santiago de Compostela, Spain: Artedardo, 2009.
  665.  
  666. Save Citation »Export Citation »E-mail Citation »
  667.  
  668. Anthology of translated texts and primary documents (manifestos and theories) by leading art critics, art historians, and artists, including Mario Pedrosa, Frederico Morais, and Aracy Amaral, from the 1960s to the present. Broaches a wide variety of topics. Bilingual Spanish/English.
  669.  
  670. Find this resource:
  671.  
  672. Architecture and Urbanism
  673. There is a rich body of scholarship on Brazilian architecture in English and Portuguese, with much of it concentrated heavily around the modern era (Andreoli and Forty 2004; Cavalcanti 2003; Lara 2008; Segawa 2013) and even more so on the founding of the capital city of Brasília by the architect Oscar Niemeyer and city planner Lúcio Costa. Many of the available sources are monographs on one architect, with a sizeable conglomeration on such heavyweights as Niemeyer, Costa, Lina Bo Bardi, and the contemporary architect, Paulo Mendes da Rocha, who won the Pritzker prize in 2006. Underwood 1992 is a helpful introduction to the colonial functions of architecture spanning the 17th to 20th centuries. Goodwin 1943 presents Brazilian architecture from the colonial era to the early stages of modernism at Museum of Modern Art, New York, before Brasilia captured the international imagination. Another focal point in architectural studies is city planning, both as it was applied to Brasilia and to the favela and particularly its relationship to urban growth. Evenson 1973 is a thorough discussion of some of the problems accompanying the rapid urban growth of Rio and Brasilia. Holston 1989 is a detailed critique of Brasilia’s planning. While the literature on urbanism is expansive, the sources included here focus primarily on the favela as an important visual reference point for artists during the 20th century. Jacques 2001 looks at the influence of favela architecture in the work of Hélio Oiticica. Jaguaribe 2007 focuses on representations of the favela in different media including film and literature.
  674.  
  675. Andreoli, Elisabetta, and Adrian Forty, eds. Brazil’s Modern Architecture. Translated by Michael Asbury, Ana Carneiro, and Daniel Marcus. London: Phaidon, 2004.
  676.  
  677. Save Citation »Export Citation »E-mail Citation »
  678.  
  679. Written by a group of architects and historians, this book offers a comprehensive survey and analysis of Brazilian modern architecture. Discusses the work of Oscar Neiemeyer and Lúcio Costa along with lesser-known architects. Amply illustrated.
  680.  
  681. Find this resource:
  682.  
  683. Cavalcanti, Lauro. When Brazil Was Modern: Guide to Architecture, 1928–1960. Translated by Jon Tolman. New York: Princeton Architectural, 2003.
  684.  
  685. Save Citation »Export Citation »E-mail Citation »
  686.  
  687. Examines over 125 buildings and projects designed between 1928 and 1960, the year that Brasilia was inaugurated as the capital of Brazil. Works by thirty-three architects are presented, and each entry includes photographs, drawings, and information that shed light on the aesthetic and social motives of Brazil’s modern architecture.
  688.  
  689. Find this resource:
  690.  
  691. Evenson, Norma. Two Brazilian Capitals: Architecture and Urbanism in Rio de Janeiro and Brasilia. London: Yale University Press, 1973.
  692.  
  693. Save Citation »Export Citation »E-mail Citation »
  694.  
  695. An excellent study of Rio and Brasilia, two contrasting cities, one the former capital and the second the new capital. Includes discussions about important historical information and details surrounding urban planning and their attendant problems in both cities. Published shortly after the inauguration of Brasilia, Evenson identifies the complications the city was incurring with traffic and the rigid, orderly plan of the city early on.
  696.  
  697. Find this resource:
  698.  
  699. Goodwin, Philip. Brazil Builds: Architecture New and Old, 1652–1942. New York: Museum of Modern Art, 1943.
  700.  
  701. Save Citation »Export Citation »E-mail Citation »
  702.  
  703. This bilingual catalogue for an exhibition at Museum of Modern Art surveys Brazilian architecture from the colonial era to the beginning stages of Brazilian modernism, offering a unique glimpse into Brazil’s architectural accomplishments to an international audience before the emergence of Brasilia. The majority of images are black/white documenting structures and architectural plans of the earliest modernist buildings by such architects as Gregori Warchavchik. Photographs by G. E. Kidder Smith.
  704.  
  705. Find this resource:
  706.  
  707. Holston, James. The Modernist City: An Anthropological Critique of Brasília. Chicago: University of Chicago Press, 1989.
  708.  
  709. Save Citation »Export Citation »E-mail Citation »
  710.  
  711. This unique study, informed by urban anthropology, is a detailed critique of the city’s utopian inspirations. Analyzes the human costs of architectural ideals.
  712.  
  713. Find this resource:
  714.  
  715. Jacques, Paola Berenstein. Estética da ginga: A arquitetura das favelas através da obra de Hélio Oiticica. Rio de Janeiro: Casa da Palavra, 2001.
  716.  
  717. Save Citation »Export Citation »E-mail Citation »
  718.  
  719. One of few studies that directly links the fields of visual art and architecture. Looks at the influence of favela architecture on the artist Hélio OIticica. In Portuguese.
  720.  
  721. Find this resource:
  722.  
  723. Jaguaribe, Beatriz. “Cities Without Maps: Favelas and the Aesthetics of Realism.” In Urban Imaginaries: Locating the Modern City. Edited by Alev Çinar and Thomas Bender, 100–120. Minneapolis: University of Minnesota Press, 2007.
  724.  
  725. Save Citation »Export Citation »E-mail Citation »
  726.  
  727. An excellent analysis of urban space in Brazil’s metropolises. Focused on cultural representation of favelas in cinema and literature. Case studies drawn from the novel Quarto de Despejo by Carolina Maria de Jesus (São Paulo: Edibolso, 1960) and Cidade de Deus the novel by Paulo Lins (São Paulo: Companhia das Letras, 1997) as well as the film, directed by Fernando Meirelles and Kátia Lund (Burbank, CA: Miramax Films, 2002).
  728.  
  729. Find this resource:
  730.  
  731. Lara, Fernando Luiz. The Rise of Popular Modernist Architecture in Brazil. Gainesville: University Press of Florida, 2008.
  732.  
  733. DOI: 10.5744/florida/9780813032894.001.0001Save Citation »Export Citation »E-mail Citation »
  734.  
  735. Provides the social context for the rise of modern architecture in Brazil. Argues that optimism and the country’s financial stability during the 1950s were responsible.
  736.  
  737. Find this resource:
  738.  
  739. Segawa, Hugo M. Architecture of Brazil: 1900–1990. New York: Springer, 2013.
  740.  
  741. DOI: 10.1007/978-1-4614-5431-1Save Citation »Export Citation »E-mail Citation »
  742.  
  743. Written by architect and professor at the University of São Paulo, this book is the most recent publication covering in broad strokes Brazilian of architecture during the 20th century. The nine chapters are devoted to thematic explorations of urbanization and modernity, rather than to specific architects or sites.
  744.  
  745. Find this resource:
  746.  
  747. Underwood, David. “‘Civilizing’ Rio de Janeiro: Four Centuries of Conquest Through Architecture.” Art Journal 51.4 (Winter 1992): 48–56.
  748.  
  749. DOI: 10.2307/777284Save Citation »Export Citation »E-mail Citation »
  750.  
  751. Historical overview of how architecture from the 17th to 20th century functioned to model European ideals surrounding progress and order in Rio de Janeiro. Useful text for undergraduates, with historical information about the exchange between Portugal and Brazil. Available online for purchase or by subscription.
  752.  
  753. Find this resource:
  754.  
  755. Gender
  756. Although a lesser explored topic in Brazilian art, the prominent role of women artists—from the defining figure of modern art, Anita Malfatti, to other 20th-century artists such as Tarsila do Amaral, Mira Schendel, Lygia Clark, Lygia Pape, and Anna Bella Geiger, among many others—merits a separate category of analysis, albeit one with few existing sources. The texts that do exist shy away from addressing feminism in relation to artistic practice but rather approach the topic through gender-related issues, such as exhibits focusing exclusively on women artists (Herkenhoff and Buarque de Hollanda 2006) or women as subjects of art (Costa 2002). Araujo and Montes 2004 is an exhibit of women painters from the 19th and 20th century and includes lesser known painters. Amaral 1993 gives important historical and social considerations for the prominence of women. Herkenhoff 1993 is a lengthy essay addressing works by many of the most well-known women artists. Sterling 2001 includes several essays on themes surrounding gender from a postcolonial perspective. Another important and growing body of research into gender is from the perspective of queer theory and its intersection with artistic practice. Notable among them are Green 1999, which presents a historical sweep of male homosexuality and the social attitudes surrounding it from the 19th to 20th century, and Bleys 2000, which interprets artistic representation in Latin America, including Brazil, from the 19th and 20th century through the lens of queer theory.
  757.  
  758. Amaral, Aracy. “Brazil: Women in the Arts.” In Ultramodern: The Art of Contemporary Brazil. By Aracy A. Amaral and Paulo Herkenhoff, 17–33. Washington, DC: National Museum of Women in the Arts, 1993.
  759.  
  760. Save Citation »Export Citation »E-mail Citation »
  761.  
  762. An illuminating English-language essay on why women artists were prominent in the 20th century by art historian Aracy Amaral.
  763.  
  764. Find this resource:
  765.  
  766. Araujo, Marcelo Mattos Montes, and Maria Lúcia Montes. Mulheres pintoras: A casa e o mundo; Pinacoteca do Estado, São Paulo, agosto/outubro de 2004. São Paulo: Pinacoteca do Estado, 2004.
  767.  
  768. Save Citation »Export Citation »E-mail Citation »
  769.  
  770. An exhibition focused on women painters from 1866 to 1966 with the inclusion of lesser-known as well as prominent artists such as: Bertha Worms, Thereza do Val, Maria de Cunha Vasco, Isabel Cruz, Alina Texeira, and Tarsila do Amaral. Useful for further study on this topic. In Portuguese.
  771.  
  772. Find this resource:
  773.  
  774. Bleys, Rudi C. Images of Ambiente: Homotextuality and Latin American Art 1810–present. New York: Continuum, 2000.
  775.  
  776. Save Citation »Export Citation »E-mail Citation »
  777.  
  778. Richly illustrated and broaching such topics as the homoerotic and masculinity in Latin American art, this publication critically interprets the social and cultural diversity of homosexual experiences in artistic representation through biographical and semiotic analyses of specific artists. Broad in geographical and chronological scope, this work is an important starting point for investigations into gender, masculinity, and the cultural realities of homosexual life and its intersection with artistic practice.
  779.  
  780. Find this resource:
  781.  
  782. Costa, Maria Cristina Castilho. A imagem da mulher: Um estudo de arte brasileira. São Paulo: SENAC São Paulo Editora, 2002.
  783.  
  784. Save Citation »Export Citation »E-mail Citation »
  785.  
  786. Focused on representations of women, largely in painting from the Baroque period, 19th-century academic painting and, in particular, portraits and modernist painting. This study is in Portuguese.
  787.  
  788. Find this resource:
  789.  
  790. Green, James N. Beyond Carnival: Male Homosexuality in Twentieth-Century Brazil. Chicago: University of Chicago Press, 1999.
  791.  
  792. Save Citation »Export Citation »E-mail Citation »
  793.  
  794. Although not directly addressing artistic practice, this wide-ranging cultural and historical study of homosexuality in Brazil from the 19th century until 1980 is an excellent point of departure for a queer studies perspective.
  795.  
  796. Find this resource:
  797.  
  798. Herkenhoff, Paulo. “The Contemporary Art of Brazil: Theoretical Constructs.” In Ultramodern: The Art of Contemporary Brazil. By Aracy A. Amaral and Paulo Herkenhoff, 34–109. Washington, DC: National Museum of Women in the Arts, 1993.
  799.  
  800. Save Citation »Export Citation »E-mail Citation »
  801.  
  802. Like Amaral, Herkenhoff discusses the presence of women in Brazilian art but talks more extensively about individual works of art and their theoretical influences. This lengthy essay includes discussion of many of the key women artists from the 20th century with an emphasis on artists from 1950s on. Heavily illustrated, a very useful reference for future research on this topic.
  803.  
  804. Find this resource:
  805.  
  806. Herkenhoff, Paulo, and Heloisa Buarque de Hollanda. Manobras radicais. São Paulo: Associação de Amigos do Centro Cultural Banco do Brasil, 2006.
  807.  
  808. Save Citation »Export Citation »E-mail Citation »
  809.  
  810. Bilingual edition catalogue of an exhibit organized by the prominent curator Paulo Herkenhoff and the cultural theorist Heloisa Buarque de Hollanda. The exhibit focused on the work of contemporary women artists from the last fifteen years. A good starting point for further research.
  811.  
  812. Find this resource:
  813.  
  814. Sterling, Susan Fisher Pedroso. Berta Sichel, and Franklin Espath Pedroso, eds. Virgin Territory: Women, Gender, and History in Contemporary Brazilian Art. Washington, DC: National Museum of Women in the Arts, 2001.
  815.  
  816. Save Citation »Export Citation »E-mail Citation »
  817.  
  818. Unites several scholarly essays that address gender in Brazilian art from a postcolonial perspective. Largely focused on contemporary art with ample color illustrations. A useful source for identifying artists working in this vein.
  819.  
  820. Find this resource:
  821.  
  822. Afro-Brazilian Art
  823. Despite the importance of African tradition, culture, and heritage in Brazilian history and culture at large, there is a scarcity of scholarly sources on the question of African identity in its varied dimensions from the field of from art history (as compared to sociology and history). Montes 2001 is an introduction to African cosmologies in Brazil. Mosquera 1992 is a comparative study of African influence in Brazil and Cuba. Discussion of race in Brazilian art often leads to the mulatto baroque artist known as Aleijadinho from the 18th century. Many sources included in this section are drawn from exhibition catalogues surveying work by artists of Afro-Brazilian descent. One of the leading voices on Afro-Brazilian art is the curator and artist, Emanoel Araújo, who founded and now directs the Museu Afro-Brasil in São Paulo, and whose curatorial efforts have resulted in a series of publications (Aguilar and Araújo 2000; Araújo 1988; Araújo 2006). Falgayrettes-Leveau 2005 is a richly illustrated catalogue from an exhibit held at the Dapper Museum in France. The popularity of Afro-Brazilian modern and contemporary artists such as Mestre Didi, Agnaldo Manoel dos Santos, Rubem Valentim, and, more recently, Rosana Paulino has led to a number of monographs. A newer study, Conduru 2007, poses one of the leading questions circumscribing the study of Afro-Brazilian art: what exactly defines it? Is it work produced by descendants of African slaves, or work in which negritude is represented, even if made by non-African artists, or does it only comprise themes directed at Africans or their descendants in Brazil? Future research will undoubtedly tackle these questions. Conduru 2010 includes discussion of important artists and could easily be incorporated in a class on the topic.
  824.  
  825. Aguilar, Nelson, and Emanoel Araújo, eds. Negro de corpo e alma / Black in Body and Soul. São Paulo: Fundação Bienal de São Paulo, 2000.
  826.  
  827. Save Citation »Export Citation »E-mail Citation »
  828.  
  829. Comprising a series of catalogues celebrating Brazil’s quintencenary. This catalogue focuses on Afro-Brazilian visual culture, which includes the arts and music. Amply illustrated.
  830.  
  831. Find this resource:
  832.  
  833. Araújo, Emanoel. A mão afro-brasileira: Significado da contribuição artística e histórica. Edited by Eric Drysdale. São Paulo: Técnica Nacional de Engenharia, 1988.
  834.  
  835. Save Citation »Export Citation »E-mail Citation »
  836.  
  837. Written in both Portuguese and English, this book contains essays, photographs, illustrations, and reproductions of important works by artists of Afro-Brazilian descent, ranging in chronology from Baroque, and Rococo, to the modern and contemporary. Particular focus on how music, caricature, and literature from slavery have been incorporated into Brazilian culture at large.
  838.  
  839. Find this resource:
  840.  
  841. Araújo, Emanoel, ed. Museu afrobrasil: Um conceito em perspectiva. São Paulo: Museu Afro Brasil, 2006.
  842.  
  843. Save Citation »Export Citation »E-mail Citation »
  844.  
  845. Catalogue for the inaugural exhibition of the Museu AfroBrasil founded by Araújo in 2004. Provides a different perspective for displaying, understanding, and preserving the cultural and artistic legacies of Afro-Brazilians and their contribution to Brazilian national identity. In Portuguese.
  846.  
  847. Find this resource:
  848.  
  849. Conduru, Roberto. Arte afro-brasileira. Belo Horizonte, Brazil: Editora C/Arte, 2007.
  850.  
  851. Save Citation »Export Citation »E-mail Citation »
  852.  
  853. Written by art historian Roberto Conduru, this book complicates the notion of Afro-Brazilian art. Explores a broad array of topics within the category, including questions of identity and representation. In Portuguese.
  854.  
  855. Find this resource:
  856.  
  857. Conduru, Roberto. “Bridging the Atlantic and Other Gaps: Artistic Connections Between Brazil and Africa and Beyond.” In Afro-Modern: Journeys Through the Black Atlantic. Edited by Tanya Barson and Peter Gorschluter, 64–75. Liverpool, UK: Tate, 2010.
  858.  
  859. Save Citation »Export Citation »E-mail Citation »
  860.  
  861. A useful English-language text introducing many of the themes and artists of Afro-Brazilian art. Helpful point of departure for further research.
  862.  
  863. Find this resource:
  864.  
  865. Falgayrettes-Leveau, Christiane, ed. Brésil: l’héritage africain; Exposition prés. à Paris au Musée Dapper du 22 septembre 2005 au 26 mars 2006. Paris: Musée Dapper, 2005.
  866.  
  867. Save Citation »Export Citation »E-mail Citation »
  868.  
  869. Richly illustrated catalogue accompanying the exhibit showcasing the African roots of Afro-Brazilian cultural heritage, including syncretic religions such as Candomblé, music, and capoeira. The texts are for the most part from an anthropological and sociological perspective, with the exception of one text by an art historian.
  870.  
  871. Find this resource:
  872.  
  873. Montes, Maria Lúcia. “African Cosmologies in Brazilian Culture and Society.” In Brazil: Body and Soul. Edited by Edward Sullivan, 334–345. New York: Guggenheim Museum, 2001.
  874.  
  875. Save Citation »Export Citation »E-mail Citation »
  876.  
  877. Exhibition catalogue. Translated text describing African heritage and cosmologies in Brazil, both historically and in the present. A useful introduction to the topic of Afro-Brazilian culture.
  878.  
  879. Find this resource:
  880.  
  881. Mosquera, Gerardo. “Africa in the Art of Latin America.” Art Journal 51.4 (Winter 1992): 30–38.
  882.  
  883. DOI: 10.2307/777282Save Citation »Export Citation »E-mail Citation »
  884.  
  885. Focuses on the amalgamation of African culture in the New World and how the mixture of African traditions and aesthetics influence artistic production in much of Latin America, with particular emphasis on Brazil and Cuba. Available online for purchase or by subscription.
  886.  
  887. Find this resource:
  888.  
  889. Indigenous Art
  890. Discussion of indigenous art is difficult to circumscribe to any particular chronology, geography, and even less so to a specific medium. Although, generally speaking, indigenous art refers to art produced in the Amazon and outlying regions by indigenous artists and artisans, it also alludes to representations of indigenous people living in Brazil, a topic that has a long history going back to the first European contact with Brazilian territory. Lacking a significant body of scholarship in the field of art history, many of the available sources in this area are either texts in exhibition catalogues (Aguilar 2000 and Maneschy 2010) or publications on the plights and challenges of indigenous communities living in Brazil today (Braun 1995). One of the most enduring artistic practices among indigenous people in Brazil is featherwork (Nicola 1986). Other practices include body painting (Lagrou 2009). Along with Afro-Brazilian art, the study of indigenous art is one that is decidedly interdisciplinary, with archaeology, anthropology, sociology, political science, and history well represented. Among the best-known anthropological sources on Brazil’s indigenous people are Lévi-Strauss 1961 and Ribeiro 2000.
  891.  
  892. Aguilar, Nelson, ed. Mostra do Redescobrimento. Vol. 9, Artes indígenas. São Paulo: Fundação Bienal de São Paulo, 2000.
  893.  
  894. Save Citation »Export Citation »E-mail Citation »
  895.  
  896. One of fourteen catalogues from the celebration of Brazil’s quintencenary, devoted to a whole range of topics with regard to indigenous art, including craft, ritual practices, and so on. Richly illustrated, this work is a useful starting point for further research.
  897.  
  898. Find this resource:
  899.  
  900. Braun, Barbara, ed. Arts of the Amazon. New York: Thames and Hudson, 1995.
  901.  
  902. Save Citation »Export Citation »E-mail Citation »
  903.  
  904. Addresses the plight of the people living in the Amazon basin with a focus on their decorative arts. Amply illustrated with essays examining the basketry, masks, ceramic sculptures and feather-works, art that is often labeled “primitive art.”
  905.  
  906. Find this resource:
  907.  
  908. Lagrou, Els Quintal. Arte indígena no Brasil: Agência, alteridade e relação. Belo Horizonte, Brazil: Editora C/Arte, 2009.
  909.  
  910. Save Citation »Export Citation »E-mail Citation »
  911.  
  912. A study of body marking and body painting in indigenous art. The author examines the traditional difference between art and artifact and how the role of innovation affects contemporary notions of art in both Western and non-Western contexts.
  913.  
  914. Find this resource:
  915.  
  916. Lévi-Strauss, Claude. Tristes tropiques. Translated by John Russell. New York: Criterion, 1961.
  917.  
  918. Save Citation »Export Citation »E-mail Citation »
  919.  
  920. Document’s the anthropologist, Claude Lévi Strauss’s travels to Brazil and the Amazon Basin as well as his encounter with a number of tribes, including the Caduveo, Bororo, Nambikwara, and Tupi-Kawahib and their cultural practices. Although this work is not an art historical text, it is highly recommended reading for students researching indigenous culture in Brazil. In English.
  921.  
  922. Find this resource:
  923.  
  924. Maneschy, Orlando, ed. Amazônia, a Arte: Museu Vale, 19 e junho a 05 de setembro de 2010. Rio de Janeiro: Image, 2010.
  925.  
  926. Save Citation »Export Citation »E-mail Citation »
  927.  
  928. Exhibit held at Museu Vale in Espírito Santo has an introductory text by the curator and an interview with Paulo Herkenhoff. The exhibit comprised a wide array of works dealing with the Amazon in a variety of media, including photography, installation, video, and so on. The high-quality color illustrations provide a rich visual sense of the artistic production focused on the region. Translations of the texts are in back of the catalogue.
  929.  
  930. Find this resource:
  931.  
  932. Nicola, Norberto. Aroméri: Arte plumária do indígena brasileiro. São Bernardo do Campos, Brazil: Mercedes-Benz do Brasil, 1986.
  933.  
  934. Save Citation »Export Citation »E-mail Citation »
  935.  
  936. Examines featherwork, one of the enduring artistic practices by the indigenous people of Brazil dating back to preconquest times.
  937.  
  938. Find this resource:
  939.  
  940. Ribeiro, Darcy. The Brazilian People: The Formation and Meaning of Brazil. Translated by Gregory Rabassa. Gainesville: University Press of Florida, 2000.
  941.  
  942. Save Citation »Export Citation »E-mail Citation »
  943.  
  944. English translation of the work of the widely read O povo brasileiro (São Paulo: Companhia das Letras, 1995) by the anthropologist Darcy Ribeiro, an important Brazilian intellectual and a political activist. The book surveys the complex ethnic and racial forces shaping Brazilian identity. An important source for research on indigenous identity in Brazil broadly conceived. This book was made into an eponymous ten-part documentary by Iza Ferrez in 2000.
  945.  
  946. Find this resource:
  947.  
  948. Photography
  949. Many of the available sources on photography are exhibition catalogues and photographic essays of a particular city, cultural event, or group of people. Much of 19th-century photography documents chronicles by European travelers and their experiences with the landscape, people, and cities of Brazil. The available sources are divided chronologically. Araújo and Ferrez 1993, Fabris 1991, and Kossoy 1980 narrate the history of photography during the 19th century, in particular its relationship to fine art. Jaguaribe and Lissovsky 2009 traces the role of photos from the 19th century through the contemporary period in constructing social imaginaries, particularly with regard to race. The growing international popularity of contemporary photographers such as Sebastião Salgado and Vik Muniz has also led to an explosion of monographs on specific photographers and catalogues of their exhibitions. The movie Wasteland (Walker, et al. 2011) is a testament to Vik Muniz’s position in the art world. Carvalho 1996 is a panoramic survey introduction to photographers working in different regions of Brazil. There is to date relatively little art historical scholarship on photography, and even fewer sources are available in English. Levine 1998 and Gabara 2008 are notable and valuable exceptions.
  950.  
  951. Araújo, Emanoel, and Gilberto Ferrez. A fotografia no Brasil do século XIX: 150 anos do fotógrafo Marc Ferrez, 1843/1993. São Paulo: Pinacoteca do Estado de São Paulo, 1993.
  952.  
  953. Save Citation »Export Citation »E-mail Citation »
  954.  
  955. An exhibition catalogue on the work of Marc Ferrez, one of the most well-known photographers of his time. His photographs document a number of cities in Brazil with a particular emphasis on Rio de Janeiro as it transitions into an urban and modern metropolis. In Portuguese.
  956.  
  957. Find this resource:
  958.  
  959. Carvalho, Maria Luiza Melo, ed. Novas Travessias: Contemporary Photography in Brazil. London: Verso, 1996.
  960.  
  961. Save Citation »Export Citation »E-mail Citation »
  962.  
  963. An English-language source organized by photographers and their subjects in different Brazilian cities and states such as Paraná, Rio and São Paulo, Bahia, Ceará, and Belém do Pará. Providing a visual panorama, this source is useful as a starting point for further research.
  964.  
  965. Find this resource:
  966.  
  967. Fabris, Annateresa, ed. Fotografia: usos e funções no século XIX. São Paulo, Brazil: Editora da Universidade de São Paulo, 1991.
  968.  
  969. Save Citation »Export Citation »E-mail Citation »
  970.  
  971. A series of essays on a wide range of topics on 19th-century photography including its antagonistic relationship with fine art. A good starting point for further research on Brazilian photography.
  972.  
  973. Find this resource:
  974.  
  975. Gabara, Esther. Errant Modernism: The Ethos of Photography in Mexico and Brazil. Durham, NC: Duke University Press, 2008.
  976.  
  977. Save Citation »Export Citation »E-mail Citation »
  978.  
  979. A thoroughly researched history of photography in both Mexico and Brazil during the 1920s and 1930s. Gabara’s section on Brazil focuses primarily on the renowned modernist literary figure Mário de Andrade and on how his photographic practice served as a critique of colonial history. This work is an excellent scholarly resource for students who want to pursue Brazilian photography from the 20th century.
  980.  
  981. Find this resource:
  982.  
  983. Jaguaribe, Beatriz, and Maurício Lissovsky. “The Visible and the Invisibles: Photography and Social Imaginaries in Brazil.” Public Culture 21.1 (Winter 2009): 175–209.
  984.  
  985. DOI: 10.1215/08992363-2008-010Save Citation »Export Citation »E-mail Citation »
  986.  
  987. A comparative study of photographs from different periods in Brazilian history: portraits of slaves from the mid-19th century; photos of political propaganda by the Estado Novo in the early 1940s; and contemporary images of Rio favela residents taken by the inhabitants of the favelas themselves. Focus is on the gaze and modes of creating imagined communities. Available online for purchase or by subscription.
  988.  
  989. Find this resource:
  990.  
  991. Kossoy, Boris. Origens e expansão da fotografia no Brasil, século XIX. Rio de Janeiro: Edição FUNARTE, 1980.
  992.  
  993. Save Citation »Export Citation »E-mail Citation »
  994.  
  995. One of the pioneering works documenting the history of photography as an artistic medium in Brazil written by the historian Boris Kossoy, also a photographer. In Portuguese. A good starting point for further research on the topic.
  996.  
  997. Find this resource:
  998.  
  999. Levine, Robert M. The Brazilian Photographs of Geneviève Naylor, 1940–1942. Durham, NC: Duke University Press, 1998.
  1000.  
  1001. Save Citation »Export Citation »E-mail Citation »
  1002.  
  1003. A study of photos taken by photojournalist Genevieve Naylor, sent to Brazil by Rockefeller during the Vargas dictatorship (1940s), commissioned to provide photos for political propaganda. This book unites her photos with historical texts by Robert Levine.
  1004.  
  1005. Find this resource:
  1006.  
  1007. Walker, Lucy, João Jardim, and Karen Harley, dirs. Waste Land, 2009. DVD. London: Almega Projects, 2011.
  1008.  
  1009. Save Citation »Export Citation »E-mail Citation »
  1010.  
  1011. Follows one of Brazil’s leading contemporary photographer Vik Muniz and his journey to the world’s largest garbage dump, Jardim Gramacho, in Rio de Janeiro. Collaborating with a group of catadores—garbage pickers of recyclable materials—Muniz creates photographic images of the individuals, revealing how this community survives by picking and organizing trash.
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