EMPTY LABEL
Beginning of painting career in Recife; Percy Lau; financial hardship; caricature; "Base" magazine; exposure to German expressionism; coming to Rio in 1935; getting acquainted with Portinari; unenthusiastic support from Portinari with view to a formal artistic education; Portinari’s strictness; Visconti’s opinion on Portinari; talks with "seu" Batista; relationship with Portinari’s family; Augusto Rodrigues' caricatures of Portinari; Cardosinho; Brazilian artists' exhibition for the benefit of the RAF; participation in the Liga da Defesa Nacional; Augusto Rodrigues’ anti-fascist activities in wartime; Portinari’s passion for painting; the few students that left the Escola Nacional de Belas Artes/ENBA and became artists; Oswaldo Teixeira; Portinari’s stories; Foujita; the protectionism of the artists from Minas Gerais; Vitalino; Portinari’s obsession in leaving his mark in history; the difficulty artists had in honoring Communist Party commitments; inventory of Augusto Rodrigues’s work; the proposal of Escolinha de Arte do Brasil; the importance artists must attach to their predecessors; Guignard; Florence Horn; Lourival Fontes and Queiroz Lima; art being put above Communist Party demands; the insertion of painting into the historically unfolding process of art; concept of discipline; the "eye" of Portinari; parents’ presence in Portinari’s work; the importance of Portinari in the development of Brazilian art; Semana de Arte Moderna; Lasar Segall; the quarrel between Segall and Portinari; Oswald de Andrade; implications inherent in Portinari’s portrait of Vargas; the naivety of Portinari's communism; Pancetti’s political militancy; the necessity for an artist to go beyond the "eye"; Escolinha de Arte do Brasil .
