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Modernism in Brazil
Modernism in Brazil was a broad cultural movement that strongly affected the art scene and Brazilian society in the first half of the 20th century, especially in the fields of literature and the plastic arts. It was inspired by the cultural and artistic trends launched in Europe in the period before the World War I such as Cubism, Futurism, Expressionism and Surrealism. These new modern languages brought by the European artistic and literary movements were gradually assimilated into the Brazilian artistic context, but with elements of the country's culture, as there was a need to valorize the national identity.
The Modern Art Week, which took place in São Paulo in 1922, is considered by official historiography to be the starting point of Modernism in Brazil. However, recent research reveals that artistic and cultural renewal initiatives were taking place in different parts of the country at that moment. According to some scholars, Recife pioneered this artistic movement in Brazil through the works of Vicente do Rego Monteiro, the poetry of Manuel Bandeira, the sociology of Gilberto Freyre, manifestations of popular culture such as frevo and cordel and the urban changes that occurred in the city during that period. For art critic Paulo Herkenhoff, former assistant curator of the Museum of Modern Art in New York, "the historiography of Pernambuco's culture has the challenge of confronting internal colonialism and the erasure of its history".
Not all the participants in the Modern Art Week were modernists, like Graça Aranha from Maranhão, one of the speakers at the event. The movement wasn't dominant from the start, but over time it replaced its predecessors through its freedom of style and approach to spoken language.
Didactically, Modernism is divided into three phases. The first, called Heroic, was the most radical and strongly opposed to everything that came before. The second, milder, called the 1930s Generation, produced great novelists and poets and was characterized by social and political concerns and regionalism, especially in the prose of the Northeast region. The third phase, called Post-Modernist by several authors (or also known as the 1945 Generation), opposed the first stage and was ridiculed with the nickname Parnassianism; it was characterized by a mixture of styles and a concern with aesthetics, whose predominant literary genre was poetry.
The first phase of Modernism was characterized by an attempt to define positions, manifestos and fast-circulating magazines. It was the most radical period of the movement due to the necessity of breaking with all the structures of the past. Its anarchic character and strong sense of annihilation was called the "spirit of destruction" by Mário de Andrade.
Most of the intellectuals and artists who represented Modernism in Brazil lived in Europe in the period after the World War I and, from this experience, absorbed ideas and techniques that resulted in Brazilian Modernism. Consequently, all the excitement that characterized the beginning of the 20th century in Europe arrived in Brazil as a moment of renewal and the search to produce a new model of art that was concerned with social issues. However, it wasn't a copy of European art, but rather its own authentic and original art. With the beginning of the Brazilian avant-garde and the return of artists to the country, the necessity of organizing events to disseminate new ideas became a concern for them. In this context, the Modern Art Week took place in 1922, scheduled to commemorate the centenary of independence. Considered a milestone of Modernism in the country and in Latin America, the event featured poetry recitals, musical concerts and opened doors to a new artistic language in relation to different types of art, such as painting, poetry and literature.
There was a search for the modern and original. The return to the origins, through the valorization of the indigenous people and the language spoken by the people, were also addressed. However, nationalism was used in two different ways: critical, aligned with the political left by denouncing reality, and ufanistic, exaggerated and extreme right-wing. Due to the need for definitions and a break with all the structures of the past, this was the most radical phase.
A month after the Modern Art Week, Brazil was experiencing two moments of great political importance: the presidential elections and the founding congress of the Communist Party in Niterói. In 1926, the Democratic Party emerged, with Mário de Andrade as one of its founders, and in 1932, the Brazilian Integralist Action, a radical nationalist movement founded by Plínio Salgado was created.
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Modernism in Brazil
Modernism in Brazil was a broad cultural movement that strongly affected the art scene and Brazilian society in the first half of the 20th century, especially in the fields of literature and the plastic arts. It was inspired by the cultural and artistic trends launched in Europe in the period before the World War I such as Cubism, Futurism, Expressionism and Surrealism. These new modern languages brought by the European artistic and literary movements were gradually assimilated into the Brazilian artistic context, but with elements of the country's culture, as there was a need to valorize the national identity.
The Modern Art Week, which took place in São Paulo in 1922, is considered by official historiography to be the starting point of Modernism in Brazil. However, recent research reveals that artistic and cultural renewal initiatives were taking place in different parts of the country at that moment. According to some scholars, Recife pioneered this artistic movement in Brazil through the works of Vicente do Rego Monteiro, the poetry of Manuel Bandeira, the sociology of Gilberto Freyre, manifestations of popular culture such as frevo and cordel and the urban changes that occurred in the city during that period. For art critic Paulo Herkenhoff, former assistant curator of the Museum of Modern Art in New York, "the historiography of Pernambuco's culture has the challenge of confronting internal colonialism and the erasure of its history".
Not all the participants in the Modern Art Week were modernists, like Graça Aranha from Maranhão, one of the speakers at the event. The movement wasn't dominant from the start, but over time it replaced its predecessors through its freedom of style and approach to spoken language.
Didactically, Modernism is divided into three phases. The first, called Heroic, was the most radical and strongly opposed to everything that came before. The second, milder, called the 1930s Generation, produced great novelists and poets and was characterized by social and political concerns and regionalism, especially in the prose of the Northeast region. The third phase, called Post-Modernist by several authors (or also known as the 1945 Generation), opposed the first stage and was ridiculed with the nickname Parnassianism; it was characterized by a mixture of styles and a concern with aesthetics, whose predominant literary genre was poetry.
The first phase of Modernism was characterized by an attempt to define positions, manifestos and fast-circulating magazines. It was the most radical period of the movement due to the necessity of breaking with all the structures of the past. Its anarchic character and strong sense of annihilation was called the "spirit of destruction" by Mário de Andrade.
Most of the intellectuals and artists who represented Modernism in Brazil lived in Europe in the period after the World War I and, from this experience, absorbed ideas and techniques that resulted in Brazilian Modernism. Consequently, all the excitement that characterized the beginning of the 20th century in Europe arrived in Brazil as a moment of renewal and the search to produce a new model of art that was concerned with social issues. However, it wasn't a copy of European art, but rather its own authentic and original art. With the beginning of the Brazilian avant-garde and the return of artists to the country, the necessity of organizing events to disseminate new ideas became a concern for them. In this context, the Modern Art Week took place in 1922, scheduled to commemorate the centenary of independence. Considered a milestone of Modernism in the country and in Latin America, the event featured poetry recitals, musical concerts and opened doors to a new artistic language in relation to different types of art, such as painting, poetry and literature.
There was a search for the modern and original. The return to the origins, through the valorization of the indigenous people and the language spoken by the people, were also addressed. However, nationalism was used in two different ways: critical, aligned with the political left by denouncing reality, and ufanistic, exaggerated and extreme right-wing. Due to the need for definitions and a break with all the structures of the past, this was the most radical phase.
A month after the Modern Art Week, Brazil was experiencing two moments of great political importance: the presidential elections and the founding congress of the Communist Party in Niterói. In 1926, the Democratic Party emerged, with Mário de Andrade as one of its founders, and in 1932, the Brazilian Integralist Action, a radical nationalist movement founded by Plínio Salgado was created.