EMPTY LABEL
Family background; artistic bent; family encourages artistic career; moving from Belém to Rio; architecture course at the Escola Nacional de Belas Arte/ENBA; the intention to study painting with Oswaldo Teixeira; class colleagues; José Moraes; the gatherings at the café in front of the Associação Brasileira de Imprensa/ABI; Núcleo Bernardelli; Pancetti; Iberê Camargo; Guignard; meeting Portinari through Campofiorito; the gatherings at Portinari's house; Percy Deane discovers Modern Art through "Studio" magazine; piano classes; Portinari inaugurates mural painting in Brazil; Oscar Niemeyer; Aldary Toledo; Portinari's 1939 exhibition at the Museu Nacional de Belas Artes/MNBA; the panels at the Library of Congress in Washington; musicians congregate at Amarelinho bar; Deane wins a prize trip to Brazil in 1943; Dutra's puritanism; Salão de Belas Artes divided into two sections; the 1945 exhibition of French art in Rio; Marques Rebelo; Percy Deane illustrates serial romance novels for "O Cruzeiro" magazine; artists heavily influenced by Portinari; election fraud in Portinari's candidature; visiting Portinari's studio in Rua Paulino Fernandes; Portinari's acerbic humor; Percy Deane's generation influenced by Campofiorito; the emotion of watching Portinari paint; the neatness and order in Portinari's studio; the panels "War" and "Peace"; Lourival Fontes; Di Cavalcanti's quarrel with Portinari; Villa-Lobos' boasting; Portinari, a vanguard painter; Percy Deane illustrates "Memorias do Cárcere"; friendship with Graciliano Ramos; Fernando Sabino; Portinari's art unrepresented in Brasília; the importance of portraits at the beginning of Portinari's carreer; Portinari's lyrical phase; Portinari's moralism; relationship with Lói Portinari; Axel Leskoschek; Otto Maria Carpeaux; intellectuals from the state of Minas Gerais connected with Capanema; Portinari's art influenced by Rivera and Picasso; Portinari's assistants.
