Projeto Portinari

Family background; beginning art studies in Porto Alegre; the origin of the name Scliar; writes for the press at 11; participates of the Exhibition Centenário Farroupilha at 15; Associação Francisco Lisboa; his lack of interest in  formal schooling; the influence of movies in his artistic upbringing; European settlement in Rio Grande do Sul; arrival in Rio in 1939; his admiration for Portinari; aversion to Academic Art; Portinari becomes the landmark of Brazilian art after the Communist Revolution; meeting Portinari; friendship with Burle Marx; Bianco; meeting Portinari favors his artistic definition; his first visit to Portinari’s studio; friendship with Rubem Braga; Família Artística Paulista; Bonadei; his participation in the artistic movement in São Paulo; the rivalry between the art of São Paulo and Rio de Janeiro; meeting Segall; the German expressionism; his exhibition in São Paulo; trip to Italy with the Força Expedicionária Brasileira/FEB; meeting Portinari and his family in Paris; director of "Senhor" magazine; Guignard; the gatherings of artists and intellectuals in the Amarelinho bar; friendship with Vinícius de Moraes; Djanira; Carlos Drummond de Andrade; "Diretrizes" magazine; the rivalry between Portinari and Segall; Di Cavalcanti's neutral position towards the  Rio-São Paulo dispute; his great friendship with Jorge Amado; the joining and separation of the Communist Party; intimacy with Portinari in Paris; Athos Bulcão; fight for peace; coordinator of the Association Latino-Americaine; his return to Rio Grande do Sul in a moment of crisis; the boycott of the Communist Party; his work with Alain Renais; praise for Portinari; the misunderstanding of Portinari's art by the Brazilian critics; the price of Portinari's success.