Brazilian Modernist Art Celebrated with Exhibition in London
Brazilian modernist art gains traction in Europe with the Royal Academy’s “Brasil! Brasil! The Birth of Modernism” exhibition. Curated by Adrian Locke, the show features ten artists and Roberto Burle Marx, recalling a historic 1944 exhibition. The collection reflects a diverse and vibrant expression of Brazilian identity, linking past and present.
Brazilian modernist art is experiencing an exciting resurgence in Europe, marked by a significant exhibition held at the Royal Academy of Arts in London. Titled “Brasil! Brasil! The Birth of Modernism,” it showcases the work of ten prominent artists from Brazil’s early 20th-century art scene, alongside the contributions of renowned landscape architect Roberto Burle Marx. This follows an acclaimed presentation of Tarsila do Amaral’s art in Paris, underlining the growing interest in Brazil’s modernist legacy.
Adrian Locke, the RA’s main curator with Brazilian roots, expresses special pride in this exhibition which shines a light on an often-overlooked chapter in Brazilian art history, especially compared to the contemporary scene that usually captures more attention in Europe. Interestingly, the RA is reviving elements from a previous landmark modernist exhibition in 1944, which was the first of its kind in the UK and showcased similar themes.
The show boasts over 130 pieces, reflecting a vibrant palette and eclectic styles, from Amaral’s vivid works to more geometric displays by Geraldo de Barros. Brazilian artists sought to forge a distinctive national identity through their artistry, steering away from European and North American influences. This quest for identity spurred the legendary Modern Art Week (Semana de Arte Moderna) in São Paulo in 1922, which challenged the norms of the art establishment at the time and ultimately shaped Brazil’s modern identity.
Among familiar highlights is Candido Portinari’s “Lavrador de café,” a poignant depiction of coffee field workers facing harsh realities. The exhibition also provides opportunities for discovery, such as the work of Rubem Valentim, an Afro-Brazilian artist whose unique symbolism reflected cultural heritage in an unfinished 1956 piece. The showcases are rich with narratives of Brazilian society, especially through self-taught artist Alfredo Volpi’s murals and Djanira’s beautiful portrayals from Bahia, particularly her 1966 work, “Três orixás.”
On the international stage, Brazilian culture is thriving; for instance, Walter Salles’ film “Ainda estou aqui” (I’m Still Here) depicting a family affected by Brazil’s military dictatorship has captivated audiences worldwide and even took home the Oscar for best international film this year. Notably, a poster for the Modern Art Week is featured in a key scene from the film, linking the modernist heritage to contemporary narratives.
While Brazil’s internal political climate remains tumultuous, with some factions seeking a return to former President Jair Bolsonaro, there is a fraction that seems indifferent to the legacy of modernism. Following the violent invasion of the presidential palace on January 8, 2023, key works, including Emiliano Di Cavalcanti’s painting “As mulatas,” suffered significant damage. Yet, the allure and spirit of Brazilian modernism, epitomised by Amaral’s stirring landscape “O Lago” from 1928, reveal an enduring connection to themes of optimism and national pride.
The Royal Academy’s exhibition not only celebrates the rich tapestry of 20th-century Brazilian modernism but also highlights its relevance today. As European audiences engage anew with these vibrant works, the discussion around national identity and artistic heritage continues, reflecting the complexity of Brazil’s cultural narrative amidst its current sociopolitical climate. The ongoing appreciation for figures like Amaral, Portinari, and Djanira reassures the world of the lasting impact of Brazil’s modernist legacy.
Original Source: americasquarterly.org
