Читать книгу A Companion to Modern and Contemporary Latin American and Latina/o Art - Группа авторов - Страница 37

1 1 Brazil's first avant‐garde journal, Klaxon emerged out the Semana de Arte Moderna, running for nine issues until 1923. Many of the principal originators of Brazil's modernism collaborated in Klaxon, among them Mário de Andrade (the unstated director of the journal), Oswald de Andrade, Sérgio Buarque de Holanda, Tarsila do Amaral, and Anita Malfatti.

2 2 Rio de Janeiro was Brazil's capital from 1763 until the inauguration of the current capital city, Brasília, in 1960. São Paulo, long an economic power, had often vied with Rio for political power.

3 3 Paulista is an adjectival form of São Paulo.

4 4 The Tenente Revolts were a series of uprisings that began between 1922 and 1927 led by junior officers in Brazilian army against their senior officers. The younger officers demanded social modernization and reforms and an end to the control of the landed coffee oligarchs. The Tenente Revolts were part of a larger shift in power from the rural oligarchy to new urban, professional groups.

5 5 Carioca is a person from Rio de Janiero, the counterpart to Paulista. On the rivalry between the two coastal cities, see note 2.

6 6 1930 marked the end of the Old Republic, a major turning point in the history of Brazil. In 1930, a coup prevented the inauguration of president‐elect Júlio Prestes, installing Getúlio Vargas in the presidency. In 1937, Vargas would institute the Estado Novo (New State), a populist, authoritarian regime.

7 7 Board members of the CAM included, among others, Anita Malfatti, Noêmia Mourão, Tarsila do Amaral, John Graz, Yvone Maia, Antônio Gomide, Carlos Prado, Flávio de Carvalho, Procópio Ferreira, Paulo Torres, Afonso Schimidt, Paulo Prado, Sérgio Milliet, Caio Prado Júnior, Yolanda Prado do Amaral, Baby C. Prado, and Beatriz Gomide. Oswald de Andrade was named an “associate,” and Mário de Andrade and Mário Pedrosa were “frequenters.”

8 8 On Mário Pedrosa, see Juan Ledezma, Chapter 8 in this volume.

9 9 The original title of the piece was “Käthe Kollwitz e o seu modo vermelho de perceber a vida” and was later changed to the definitive “As tendências sociais da arte e Käthe Kollwitz.”

10 10 Mário de Andrade (1893–1945) and Oswald de Andrade (1890–1954) were not related by blood.

11 11 On antropofagia, see Irene Small, Chapter 13 in this volume.

12 12 Pampulha refers to both a man‐made lake in Belo Horizonte, constructed while Kubitschek was mayor, and the surrounding neighborhood that housed important cultural and architectural landmarks, including Oscar Niemeyer's Church of St. Francis of Assisi. In his 1944 speech in Belo Horizonte, Oswald de Andrade referred to Niemeyer's church as the only cathedral still capable of converting people. Kubitschek, often referred to as the “father of modern Brazil,” would go on to be the nation's president (1956–1960) and the mastermind behind the building of Brasília.

13 13 The Inconfidência Mineira was an unsuccessful independence movement that took shape in Minas Gerais in the late eighteenth century, when Brazil was still a colony of Portugal. Along with military personnel and clergy, the movement included intellectuals, philosophers, and poets of the Arcades Mineiros (Arcadian movement), and was inspired by Enlightenment ideals as well as the recent independence of the United States from Great Britain.

14 14 Café com leite, or “coffee with milk,” politics refers to an alliance under the Old Republic (1889–1930) between the landed oligarchs of São Paulo (dominated by coffee plantations) and Minas Gerais (dominated by dairy interests). During the Old Republic, presidents were drawn from the oligarchies of these two states, and their interests dominated national politics.

15 15 “Pagu” was the pseudonym of Patrícia Rehder Galvão, a poet, playwright, journalist, and communist militant. She married Oswald de Andrade in 1930, after he had left Tarsila do Amaral, to whom de Andrade had previously been married.

16 16 Silviano Santiago observed that Oswald's choice of giving the talk in 1944 rather than in 1942 was a strategy of remembering the 1924 trip of the modernists to the historic city of Minas Gerais and his own Pau Brasil movement or, in other words, placing himself at the center of modernism. See Santiago, S. (2006). Sobre plataformas e testamentos. In: Oras (direis) puxar conversa!: ensaios literarios 116. Belo Horizonte: Editora da UFMG.

17 17 On the Tenente Revolts, see note 4. The Coluna Prestes (Prestes Column), linked to the Tenente Revolts, was a resistance movement active between 1925 and 1927.

18 18 Revista Clima was a Paulista journal, published between 1941 and 1944 by the Department of Philosophy at the University of São Paulo, in which Antonio Candido participated.

19 19 This series of interviews was accompanied by another with the representatives of the older generation (fundamentally the modernists of different veins), which was published with the tombstone‐like title Testament of a Generation. See Cavalheiro, E . (1944). Testamento de uma geração. Porto Alegre: Globo.

20 20 Or further, “The old ones take the wide road, while the youngsters go through the ‘narrow door’” (p. 119).

21 21 The Intentona Comunista was an attempted 1935 coup against the government of Getúlio Vargas. It was led by the Aliança Nacional Libertatora, an antifascist, popular front political organization, with the support of the Brazilian Communist Party and the Comintern.

22 22 On Brasília and Juscelino Kubitschek, see Fabiola López‐Durán, Chapter 9 in this volume.

23 23 See Alambert, F., and Lopes, P.C. (2004). Bienais de São Paulo: Da era do museu à era dos curadores. São Paulo: Boitempo.

24 24 Concretismo, a Brazilian arts movement arising in the 1950s, emphasized geometric abstraction based on rationalist principles. On Concretismo, see Juan Ledezma, Chapter 8 in this volume.

25 25 Tropicalismo (also known as Tropicália) was an arts movement that emerged in the late 1960s, critical of the Brazilian dictatorship. See Irene Small, Chapter 13 in this volume. Influenced by Antropofagia, it was perhaps most well known for its innovative music blending Brazilio‐African rhythms with rock, and for musicians such as Caetano Veloso. Tropicalismo also includes visual arts, poetry, and theater, in which artists such as Hélio Oiticica combined avant‐garde art and popular cultural forms.

26 26 Mário de Andrade published his novel, Macunaíma, considered one of the founding texts of Brazilian modernism, in 1928.