DE-8.1

Depoimento de Lúcio Costa

[1982]
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Code
DE-8.1
Title
Depoimento de Lúcio Costa
Summary

His first impression of Portinari; memories of the Escola Nacional de Belas Artes/ENBA; Ismael Nery; the beginning of his relationship with Portinari; the exhibition at the Palace Hotel;  Modigliani's influence on Portinari; Lúcio Costa's nomination to head the ENBA; promotion of the arts during the beginning of Getúlio Vargas’ government; Manuel Bandeira; commercial failure of Portinari's show; acquisition of "Portrait of Maria"; Portinari keeps the portrait; the 1931 Salon; his contact with the artists from São Paulo; Warchavchik is invited  to teach at  the ENBA; group from São Paulo participates in the ENBA Salon; the organization of the ENBA Salon; Celso Antônio; structural renovation in the ENBA; the influence of Vienna in the organization of the Salon; the organizing committee; hard times for Portinari; construction of small houses in Copacabana; "Portrait of Maria Gallo"; "Portrait of Odete Monteiro";  Lúcio Costa does not let Portinari paint his family; inauguration of the Salon is postponed; selection criteria for the ENBA Salon; cancellation of the prize trip to Europe; the Brazilian Pavillion at the New York World’s Fair (1939); Celso Antônio's sculptures; Portinari's panels; construction of the Ministério da Educação e Saúde/MES building; Capanema's commitment to this project; seeking advice from Mário de Andrade; Portinari's studies for the glazed tile murals; picking themes; the panels "Choir" and "Song School"; the importance of including tiles in the decoration of modern Brazilian architecture; Le Corbusier's collaboration; Portinari draws motifs for tiles; Rossi does the work; Portinari as the "official" artist; artists of the ENBA Salon; Lúcio Costa criticises his own work at the ENBA; beginning and end of the Universidade do Distrito Federal/UDF; the essay "Razões da Nova Arquitetura"; Carlos Leão; Lúcio Costa's lack of calling for teaching; Portinari's classes; the Batatais museum project; his friendship with Portinari; Lúcio Costa's impressions on Portinari's death; Carmen Saavedra's house; Batista da Costa;  Saavedras' mural "Divine Sheperdess Lady"; the blending of the architect and the muralist; his awe of Portinari; the panel "First Mass in Brazil" of Banco Boavista; Prestes' image in the panel "Tiradentes"; the delay in the modernization of the ENBA; his first contact with authentic Brazilian architecture in 1922.

Language
portuguêsLanguage
Role
Maria Christina Guido entrev.Person
Oswaldo Barbosa téc. somPerson
speaker
Media Type
OriginalMediaType
Preservation
GoodPreservation
Notes
Entrevista realizada em 22 de dezembro de 1982.
Observation
Matriz: 1 fita rolo Cópia: 1 CD Depoimento transcrito
About Person 51
About Event 2
About Organization 12
Related Work 18
Media
DE-8.docMediaObject
Audio
1455216AudioObject
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numberOfInterviews
1
numberOfMatrices
1
numberOfCopies
2
duration
1h 05min
transcriptedPages
1
restrictedAccess
transcript

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