“Monument to the Flags”, by Brecheret: the present past
Victor Brecheret's Monument to the Flags, also known as Push-Push and Let Me Push, is over a hundred years old, if we take...
Brazilian choice in Venice reflects authoritarianism of Fundação Bienal de São...
Once again, the nomination of the Brazilian representative at the Venice Biennale is the result of an undemocratic choice, as it has been characterized since...
Victor Brecheret's sculpture: between tradition and contemporaneity
On the eve of the celebrations of the 100th anniversary of the Week of Modern Art, it is important to reflect on the figure of the Italian-Brazilian sculptor Victor Brecheret (1894-1955),...
Segall and Picasso; allegory and decisive moment; painting and photography
In view of the discussions on modernism and the 1922 Modern Art Week, an issue that remains outside the debate is...
Monteiro Lobato art critic. Again [or yet]
Tadeu Chiarelli discusses Lobato's art criticism from a broader context than the São Paulo scene of 1917, bringing other data to reflect on the writer's performance
The image that intended to change the perception of the world
In the debut of her new column, Simonetta Persichetti analyzes the image of the attack on the Twin Towers, asks questions about the force attributed to it and reminds us of the importance of considering the construction of a photograph
Tarsila's self-portraits, part III: the various resignifications of a...
The critic and columnist of arte!brasileiros Tadeu Chiarelli concludes his series of articles on Tarsila do Amaral’s self-portraits by analyzing these images that would become icons of the artist’s production and, ultimately, of São Paulo’s modernism.
Tarsila's self-portraits, part II: the “Achiropita” image
After analyzing Tarsila do Amaral's first self-portraits, the critic Tadeu Chiarelli publishes a text in which he talks about a second period of the artist's work, in which her portraits abandon the reference to the Spanish "paquitas" and start to dialogue with sumptuous images of the Catholic tradition.
Tarsila's Self-Portraits, Part I: The Spaniard
Bringing new perspectives to the debate on São Paulo's modernism, Tadeu Chiarelli discusses the first self-portraits by Tarsila do Amaral that, until now, have not received due attention.
A centenary passing in white clouds
A look at the friendship between Ismael Nery and Murilo Mendes, which began in 1921, demonstrates that there is still much to be studied and written about the particular development of surrealism in Brazil.
