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Emiliano di cavalcanti
N°2923
Cavalcanti rendra hommage, sa vie durant, à la femme et, plus précisément, à la mulâtresse dont il fait un symbole social. Ce thème s'inscrit dans les préoccupations politiques de l'artiste qui s'accentueront après 1930. En 1955, Cavalcanti publie son autobiographie tandis qu'il participe à la Biennale de São Paulo et à celle de Venise. Le M. A. M. de São Paulo a organisé une rétrospective de son œuvre en 1971.
His wife was the painter Noêmia Mourão, who would be an inspiration in his works in the later 1930s.
Il a expose avec Tarsila do Amaral, Lasar Segall, Anitta Malfatti, Candido Portinari et a Paris avec Braque, Leger et Picasso qu il frequentait sur la Butte Montmartre. Cícero Dias, né à Escada (Pernambouc) - Tarsila do Amaral (1886-1973) Avec ses amis Oswald de Andrade — qui deviendra son mari — et Blaise Cendrars elle accède au monde des arts parisiens, Paris où ils se lient avec Pablo Picasso, Fernand Léger, Paul Éluard et des membres du groupe surréaliste mais retourne souvent dans son pays natal où avec ses amis Anita Malfatti, Mario de Andrade et Menotti del Picchia, elle va être l'iniatrice de l'art moderniste au Brésil.
Il avait constitue par ailleurs une collection personnelle d'oeuvres majeures du XXe siècle.
Emiliano Di Cavalcanti : 49 000 €
Estimation multipliée par 6 pour une gouache de ce peintre brésilien, considéré comme le père de l'école brésilienne de peinture moderne. D'abord caricaturiste, il expose pour la première fois ses oeuvres à Sao Paulo en 1916, l'année de sa rencontre avec Anita Malfati, artiste nourrie d'une expérience picturale acquise à Drede, Berlin et New-York, qui va donner une impulsion déterminante à sa carrière. Ils fondent ensemble en 1922 la Semaine d'art moderne de Sao Paulo. Il séjourne à Paris entre 1923 et 1925 et y revient entre 1935 et 1940. Il est fortement marqué par Picasso, mais aussi par Chagall et l'expressionnisme. Son oeuvre exprimera ces différentes tendances. Il trouvera sa manière en décrivant la réalité sociale de son pays et, de fait, se rapprochera du style monumental des peintres muralistes mexicains. C'est du début des années 30 que date son album La Réalité brésilienne qui offre, à travers 12 encres de Chine, une série de portraits caustiques, impitoyablement caricaturaux. En 1929, il peint sa première fresque. Il en réalisera un certain nombre, notamment pour le palais des Alvorades à Brasilia, construit par l'architecte Oscar Niemeyer. La cote de cet artiste est toujours soutenue, que ce soit pour ses toiles ou ses oeuvres sur papier. En juin 2000, une gouache de 1937 intitulée Noémia (59 x 43 cm), a atteint 91 238 € frais compris chez Chritie's New-York. En juin 1999, une autre intitulée Capoeira (34 x 48 cm) récoltait 16 500 € chez Sotheby's New-York. Emiliano Di Cavalcanti (1897-1876) : " Les Trois baigneuses ", gouache sur papier signée en bas à droite. H. 54 cm, l. 65 cm (adjugée 57 791 € frais compris, mardi 2 juillet 2002, hôtel des ventes du Palais, Poulain, Le Fur).
Plus recemment le 7 decembre 2009 a Paris chez Mtre Rieuner 3 oeuvres sur papier de l artiste s envolerent dont un pastel estime 8000 euros fit 90 000 €
et une encre jusqu a 13 500 €!
Biographie:
Emiliano Augusto Cavalcanti de Albuquerque Melo (September 6, 1897–October 26, 1976), known as Di Cavalcanti, was a Brazilianpainter who sought to produce a form of Brazilian art free of any noticeable European influences. His wife was the painter Noêmia Mourão, who would be an inspiration in his works in the later 1930s.
Born in Rio de Janeiro in 1897, Di Cavalcanti was influenced by the intellectuals he met at his uncle’s house. This would provide the basis for a lifelong politically driven artistic career, which would start by the production of a drawing published by the magazine fon-fon. He engaged in a pursuit for a Law degree in São Paolo but did not manage to complete this pursuit. Di Cavalcanti moved to São Paulo in 1917. At this time he held his first exhibition at the Editora do Livro (o livro bookstore) in São Paulo. This first exhibition would only include caricatures with very viable symbolist influences to be found presented in the works.
In 1918 Di Cavalcanti would become part of a group of intellectuals and artists in São Paulo which would contain artist like Oswald de Andrade, Mário de Andrade, Guilherme de Almeida, etc. This group would be the direct cause for bringing the Semana de Arte (week of modern art) in life in 1922 (see the cover page on the right of this page). This movement along with the Group of Five wished to revive the artistic environment in São Paulo at the time and had as its main interest to free Brazilian art from the European influences found within it. Nevertheless, the works Di Cavalcanti displayed at the Semana revealed varying Symbolist, Expressionist, and Impressionist influences. This can thus be seen as a continuance of European stylistic influences and this would not change until Di Cavalcanti returned from Paris in 1925 to live in Rio de Janeiro once again.
Years abroad (1923-1925)
Di Cavalcanti lived in Paris and Montparnasse from 1923 until 1925. During this time he was employed as a correspondent for the newspaper Correio da Manhã and attended classes at the Académie Ranson in Paris, which led him to meet European modernists like Pablo Picasso, Henri Matisse, George Braque, and Fernand Léger. During this time his feelings to create a true Brazilian art would flourish and thus lead to his later works.
Return to Rio de Janeiro (1926-1936)
After returning from Europe and having experienced the modernist movement in Europe Di Cavalcanti would start working on a more Brazilian art, which Di Cavalcanti and the group who held the Semana de Arte already advocated in 1922. During this time he joined the Brazilian Communist Party due to the heightened nationalistic feelings he experienced during three years abroad. Di Cavalcanti embodies the problematic tendency of Brazilian modernists to be pulled in two directions: his subject matter consists of particularly Brazilian themes (mostly mulatto women), but his chief artistic influences are the European modernists and Pablo Picasso most of all.
In 1929 Di Cavalcanti also started to work on interior design, as seen in the two panels produced for the Teatro João Caetano ( João Caetano Theatre) in Rio de Janeiro. In 1930 he was involved in an exhibition of Brazilian art at the International Art Center at the Roerich Museum in New York. At this time he once again was involved with correspondence and magazines as he was the principal writer for the newly established magazine forma.
In 1932 another large group was established by Lasar Segall, Anita Malfatti, and Vitor Becheret which was the Sociedade Pró-Arter Moderna also known as SPAM. The goal of this group was to bring modernism to Brazilian art and follow in the footsteps of the Semana de Arte and encourage a revival of its ideas. On April 28, 1933 this group held the Exposição de Arte Moderna, which was the first exhibition to feature works produced by Picasso, Léger, and Braque, all of whom were know to the Brazilian people, but whose works had not been seen in the flesh before this exhibition. The exhibition pieces from the European masters were all borrowed from local Brazilian private collections. This exhibition was such a success that during the second showing in the fall many local Brazilian artists, including Di Cavalcanti and Candido Portinari, took part in the exhibition.
Di Cavalcanti would be jailed twice for his communistic beliefs and ties he undertook in prior years. He met his wife-to-be, painter Noêmia Mourão (he was previously married to his cousin Maria in 1921) after his first incarceration in 1932 for supporting Revolução Paulista. They married the following year and she became his traveling partner for the years to come until they both got jailed in 1936.
Europe again (1937-1940)
In 1937 Di Cavalcanti and his wife Noêmia Mourão would set sail to Paris to stay there until the outbreak of World War II in the start of 1940. During this three year stay abroad he was awarded a Gold medal in the Art Technique Exhibition in Paris for his murals in the French-Brazilian Coffee Company. After this Di Cavalcanti would produce around 40 works, only to be left behind when he and his wife fled the country on the eve of the German Nazi invasion. They arrived back in São Paulo in 1940.
Back in Brazil (1941-1976)
After his return to Brazil his nationalistic feelings became even stronger, as seen in his representations of mulatto women, carnivals, Negroes, deserted alleys, and tropical landscapes, subjects to be found in Brazilian everyday life and social settings and not in European settings. He lectured about these things in 1948 in the Museu de Arte de São Paulo, providing a lecture on modernism, expressing nationalism, and opposing abstraction. In 1951 the first of the Bienals, held at the Museu de Arte Moderna at São Paulo, featured Di Cavalcanti’s works, along with other artists from the South American continent who were seeking for a true national art. The Mexican Muralists Diego Rivera and David Siquieros were thus personally invited by Di Cavalcanti and actually attended. The exuberance and expression of true South American art was a very strong incentive for the founder, Francisco Matarazzo Sobrinho (also known as Ciccilo), to hold this exhibition again, and there was another exhibition in 1953. The works left behind after fleeing Europe in 1940 were to be recovered in 1966 in the basement of the Brazilian Embassy in Paris.
The friendship with Francisco Matarazzo Sobrinho was a direct effect to the donation of 559 drawing by Di Cavalcanti himself to the Museu de Arte Contemporânea which was founded by Ciccilo. The Museu de Arte Contempemporânea is also better known as the MAC and currently has 564 drawings by Di Cavalcanti in its possession of which only 5 were acquired through purchases and the others through the donation by the artist himself.
Style and subjects
Di Cavalcanti was obviously obsessed with the female body, since very many representations are to be found within the works he produced. The street scenes depicted by Cavalcanti are cheerful, characterized by a palette of bright colors and the depictions of everyday life in a normal, non-romanticized way. They evoke no strong political undercurrent, as do the works of such Mexican muralists of the 1930s and ‘40s as Diego Rivera and David Siqueiros. The works produced by these artists were part of the revolutionary movement in opposition of the new revolutionary government who came to power in Mexico. Di Cavalcanti on the other hand refrained from overt political representations, although he himself was in a pursuit of perfecting a pure Brazilian art which had a clear break with European influences.
He tried through the creation of the Semana de Arte in 1922 and the Bienals in 1951 and 1953 to push for a true Brazilian art which was to be seen as separated from European stylistic influences. This was a dream and philosophy which can be seen as an ideal for Di Cavalcanti which was never found as one can see stylistic influences from the Italian Renaissance, Muralism, and the European Modernists.
Tarsila do Amaral (1886-1973), école moderniste
Tarsila do Amaral est une artiste-peintre brésilienne de l'école moderniste (1er septembre 1886 - 17 janvier 1973).
Elle est née en 1886 dans une famille aisée de la région de Sao Paulo — son père était un riche planteur de café — et suit l'enseignement de Pedro Alexandrino, avant de partir en 1920 à Paris pour y approfondir sa formation. Elle va y suivre les cours des artistes modernistes comme Fernand Léger, Albert Gleizes et André Lhote.
Elle développe peu à peu un style particulier et coloré, mêlant sa culture brésilienne avec les techniques apprises à Paris comme les dessins préparatoires et la mise en valeur des compositions. Elle va présenter des toiles invitant à l'imagination et à la rêverie.
Avec ses amis Oswald de Andrade — qui deviendra son mari — et Blaise Cendrars elle accède au monde des arts parisiens, mais retourne souvent dans son pays natal où avec ses amis Anita Malfatti, Mario de Andrade et Menotti del Picchia, elle va être l'iniatrice de l'art moderniste au Brésil.
Cícero Dias, né à Escada (Pernambouc) le 5 mars 1907 et mort à Paris le 28 janvier 2003, est un peintre moderniste brésilien.
À partir de 1925, il étudie la peinture à l'École des beaux-arts de Rio de Janeiro. Il fréquente les groupes d'intellectuels et d'artistes de l'époque et se lie d'amitié avec des modernistes de São Paulo tels que Mario de Andrade, Oswald de Andrade, Tarsila do Amaral et Emiliano Di Cavalcanti. C'est au cours d'un des voyages de Blaise Cendrars au Brésil que Dias fait sa connaissance.
En 1928, il fait sa première exposition personnelle et, en 1930, il participe à une importante exposition d'artistes brésiliens au Musée Nicholas Roerich de New York.
Plaque commémorative sur le domicile parisien de Cícero Dias au n° 123 de la rue de Longchamp
En 1937, il s'installe à Paris où il se lie avec Pablo Picasso, Fernand Léger, Paul Éluard et des membres du groupe surréaliste.
.
Left
right
Emilano di cavalcanti bresil sao paulo noemia mourao homme et femme attables dans un bar lasar segall portinari picasso chagall provenance galerie rive gauche
Emiliano di cavalcanti
N°2923
Emiliano Di Cavalcanti
Emiliano Augusto Cavalcanti de Albuquerque Melo
(September 6, 1897–October 26, 1976), known as Di Cavalcanti,
Caricaturiste à ses débuts, il participe en 1922 à la Semaine d'art moderne de São Paulo, qu'il a d'ailleurs aidé à organiser. Il décide ensuite de s'installer à Paris (1923-1925) où Picasso, Léger, Cocteau, Satie deviennent ses amis. Son œuvre est d'abord marquée par Chagall et l'expressionnisme, avant de se confronter au Picasso de la période classique.Emiliano Augusto Cavalcanti de Albuquerque Melo
(September 6, 1897–October 26, 1976), known as Di Cavalcanti,
Cavalcanti rendra hommage, sa vie durant, à la femme et, plus précisément, à la mulâtresse dont il fait un symbole social. Ce thème s'inscrit dans les préoccupations politiques de l'artiste qui s'accentueront après 1930. En 1955, Cavalcanti publie son autobiographie tandis qu'il participe à la Biennale de São Paulo et à celle de Venise. Le M. A. M. de São Paulo a organisé une rétrospective de son œuvre en 1971.
His wife was the painter Noêmia Mourão, who would be an inspiration in his works in the later 1930s.
Il a expose avec Tarsila do Amaral, Lasar Segall, Anitta Malfatti, Candido Portinari et a Paris avec Braque, Leger et Picasso qu il frequentait sur la Butte Montmartre. Cícero Dias, né à Escada (Pernambouc) - Tarsila do Amaral (1886-1973) Avec ses amis Oswald de Andrade — qui deviendra son mari — et Blaise Cendrars elle accède au monde des arts parisiens, Paris où ils se lient avec Pablo Picasso, Fernand Léger, Paul Éluard et des membres du groupe surréaliste mais retourne souvent dans son pays natal où avec ses amis Anita Malfatti, Mario de Andrade et Menotti del Picchia, elle va être l'iniatrice de l'art moderniste au Brésil.
Oeuvre provenant des anciens fonds de la Galerie Rive Gauche
qui l a expose a de nombreuses reprises.
Tres joli dessin a la pierre noire representant:
« Couple, homme et femme attables dans un bar ! »
Format de la feuille 27 / 20,4 cm.
Oeuvre sur papier blanc uni. lavis d encre de chine
Vers 1930
Le nom du peintre n est pas une signature autographe
Cachet d atelier dans le coin inferieur gauche
appose par la Galerie Rive Gauche .
qui l a expose a de nombreuses reprises.
Tres joli dessin a la pierre noire representant:
« Couple, homme et femme attables dans un bar ! »
Format de la feuille 27 / 20,4 cm.
Oeuvre sur papier blanc uni. lavis d encre de chine
Vers 1930
Le nom du peintre n est pas une signature autographe
Cachet d atelier dans le coin inferieur gauche
appose par la Galerie Rive Gauche .
Direction : Rudi Augustinci
Située au 44 rue de Fleurus à Paris, la galerie Rive gauche
est fondée au début des années 1950
par le collectionneur et historien d'art Heinz Berggruen.
Celui-ci y présente environ 80 expositions jusqu'à la fin des années 1970.
Il est toujours attiré par des oeuvres rares et peu connues des grands artistes de son temps : beaux tirages de gravures de Paul Klee ou de Pablo Picasso, papiers découpés d'Henri Laurens ou d'Henri Matisse, bois gravés de Joan Miró ou aquarelles de Fernand Léger ou de Roger de La Fresnaye.Située au 44 rue de Fleurus à Paris, la galerie Rive gauche
est fondée au début des années 1950
par le collectionneur et historien d'art Heinz Berggruen.
Celui-ci y présente environ 80 expositions jusqu'à la fin des années 1970.
Il avait constitue par ailleurs une collection personnelle d'oeuvres majeures du XXe siècle.
Etat de conservation assez bon.
Malgres un leger empoussierage du temps, quelques froissures et rousseurs.
Origine et provenance Galerie Rive Gauche,
Noemia Mourao, Solange Darbois et Mme Leon Paul Farge dit Cheriane.
Catalogue de la retrospective de ses dessins en 1985
En 2009 quelques resultats:
Malgres un leger empoussierage du temps, quelques froissures et rousseurs.
Origine et provenance Galerie Rive Gauche,
Noemia Mourao, Solange Darbois et Mme Leon Paul Farge dit Cheriane.
Catalogue de la retrospective de ses dessins en 1985
En 2009 quelques resultats:
Emiliano Di Cavalcanti : 49 000 €
Estimation multipliée par 6 pour une gouache de ce peintre brésilien, considéré comme le père de l'école brésilienne de peinture moderne. D'abord caricaturiste, il expose pour la première fois ses oeuvres à Sao Paulo en 1916, l'année de sa rencontre avec Anita Malfati, artiste nourrie d'une expérience picturale acquise à Drede, Berlin et New-York, qui va donner une impulsion déterminante à sa carrière. Ils fondent ensemble en 1922 la Semaine d'art moderne de Sao Paulo. Il séjourne à Paris entre 1923 et 1925 et y revient entre 1935 et 1940. Il est fortement marqué par Picasso, mais aussi par Chagall et l'expressionnisme. Son oeuvre exprimera ces différentes tendances. Il trouvera sa manière en décrivant la réalité sociale de son pays et, de fait, se rapprochera du style monumental des peintres muralistes mexicains. C'est du début des années 30 que date son album La Réalité brésilienne qui offre, à travers 12 encres de Chine, une série de portraits caustiques, impitoyablement caricaturaux. En 1929, il peint sa première fresque. Il en réalisera un certain nombre, notamment pour le palais des Alvorades à Brasilia, construit par l'architecte Oscar Niemeyer. La cote de cet artiste est toujours soutenue, que ce soit pour ses toiles ou ses oeuvres sur papier. En juin 2000, une gouache de 1937 intitulée Noémia (59 x 43 cm), a atteint 91 238 € frais compris chez Chritie's New-York. En juin 1999, une autre intitulée Capoeira (34 x 48 cm) récoltait 16 500 € chez Sotheby's New-York. Emiliano Di Cavalcanti (1897-1876) : " Les Trois baigneuses ", gouache sur papier signée en bas à droite. H. 54 cm, l. 65 cm (adjugée 57 791 € frais compris, mardi 2 juillet 2002, hôtel des ventes du Palais, Poulain, Le Fur).
Plus recemment le 7 decembre 2009 a Paris chez Mtre Rieuner 3 oeuvres sur papier de l artiste s envolerent dont un pastel estime 8000 euros fit 90 000 €
et une encre jusqu a 13 500 €!
Biographie:
Emiliano Augusto Cavalcanti de Albuquerque Melo (September 6, 1897–October 26, 1976), known as Di Cavalcanti, was a Brazilianpainter who sought to produce a form of Brazilian art free of any noticeable European influences. His wife was the painter Noêmia Mourão, who would be an inspiration in his works in the later 1930s.
Born in Rio de Janeiro in 1897, Di Cavalcanti was influenced by the intellectuals he met at his uncle’s house. This would provide the basis for a lifelong politically driven artistic career, which would start by the production of a drawing published by the magazine fon-fon. He engaged in a pursuit for a Law degree in São Paolo but did not manage to complete this pursuit. Di Cavalcanti moved to São Paulo in 1917. At this time he held his first exhibition at the Editora do Livro (o livro bookstore) in São Paulo. This first exhibition would only include caricatures with very viable symbolist influences to be found presented in the works.
In 1918 Di Cavalcanti would become part of a group of intellectuals and artists in São Paulo which would contain artist like Oswald de Andrade, Mário de Andrade, Guilherme de Almeida, etc. This group would be the direct cause for bringing the Semana de Arte (week of modern art) in life in 1922 (see the cover page on the right of this page). This movement along with the Group of Five wished to revive the artistic environment in São Paulo at the time and had as its main interest to free Brazilian art from the European influences found within it. Nevertheless, the works Di Cavalcanti displayed at the Semana revealed varying Symbolist, Expressionist, and Impressionist influences. This can thus be seen as a continuance of European stylistic influences and this would not change until Di Cavalcanti returned from Paris in 1925 to live in Rio de Janeiro once again.
Years abroad (1923-1925)
Di Cavalcanti lived in Paris and Montparnasse from 1923 until 1925. During this time he was employed as a correspondent for the newspaper Correio da Manhã and attended classes at the Académie Ranson in Paris, which led him to meet European modernists like Pablo Picasso, Henri Matisse, George Braque, and Fernand Léger. During this time his feelings to create a true Brazilian art would flourish and thus lead to his later works.
Return to Rio de Janeiro (1926-1936)
After returning from Europe and having experienced the modernist movement in Europe Di Cavalcanti would start working on a more Brazilian art, which Di Cavalcanti and the group who held the Semana de Arte already advocated in 1922. During this time he joined the Brazilian Communist Party due to the heightened nationalistic feelings he experienced during three years abroad. Di Cavalcanti embodies the problematic tendency of Brazilian modernists to be pulled in two directions: his subject matter consists of particularly Brazilian themes (mostly mulatto women), but his chief artistic influences are the European modernists and Pablo Picasso most of all.
In 1929 Di Cavalcanti also started to work on interior design, as seen in the two panels produced for the Teatro João Caetano ( João Caetano Theatre) in Rio de Janeiro. In 1930 he was involved in an exhibition of Brazilian art at the International Art Center at the Roerich Museum in New York. At this time he once again was involved with correspondence and magazines as he was the principal writer for the newly established magazine forma.
In 1932 another large group was established by Lasar Segall, Anita Malfatti, and Vitor Becheret which was the Sociedade Pró-Arter Moderna also known as SPAM. The goal of this group was to bring modernism to Brazilian art and follow in the footsteps of the Semana de Arte and encourage a revival of its ideas. On April 28, 1933 this group held the Exposição de Arte Moderna, which was the first exhibition to feature works produced by Picasso, Léger, and Braque, all of whom were know to the Brazilian people, but whose works had not been seen in the flesh before this exhibition. The exhibition pieces from the European masters were all borrowed from local Brazilian private collections. This exhibition was such a success that during the second showing in the fall many local Brazilian artists, including Di Cavalcanti and Candido Portinari, took part in the exhibition.
Di Cavalcanti would be jailed twice for his communistic beliefs and ties he undertook in prior years. He met his wife-to-be, painter Noêmia Mourão (he was previously married to his cousin Maria in 1921) after his first incarceration in 1932 for supporting Revolução Paulista. They married the following year and she became his traveling partner for the years to come until they both got jailed in 1936.
Europe again (1937-1940)
In 1937 Di Cavalcanti and his wife Noêmia Mourão would set sail to Paris to stay there until the outbreak of World War II in the start of 1940. During this three year stay abroad he was awarded a Gold medal in the Art Technique Exhibition in Paris for his murals in the French-Brazilian Coffee Company. After this Di Cavalcanti would produce around 40 works, only to be left behind when he and his wife fled the country on the eve of the German Nazi invasion. They arrived back in São Paulo in 1940.
Back in Brazil (1941-1976)
After his return to Brazil his nationalistic feelings became even stronger, as seen in his representations of mulatto women, carnivals, Negroes, deserted alleys, and tropical landscapes, subjects to be found in Brazilian everyday life and social settings and not in European settings. He lectured about these things in 1948 in the Museu de Arte de São Paulo, providing a lecture on modernism, expressing nationalism, and opposing abstraction. In 1951 the first of the Bienals, held at the Museu de Arte Moderna at São Paulo, featured Di Cavalcanti’s works, along with other artists from the South American continent who were seeking for a true national art. The Mexican Muralists Diego Rivera and David Siquieros were thus personally invited by Di Cavalcanti and actually attended. The exuberance and expression of true South American art was a very strong incentive for the founder, Francisco Matarazzo Sobrinho (also known as Ciccilo), to hold this exhibition again, and there was another exhibition in 1953. The works left behind after fleeing Europe in 1940 were to be recovered in 1966 in the basement of the Brazilian Embassy in Paris.
The friendship with Francisco Matarazzo Sobrinho was a direct effect to the donation of 559 drawing by Di Cavalcanti himself to the Museu de Arte Contemporânea which was founded by Ciccilo. The Museu de Arte Contempemporânea is also better known as the MAC and currently has 564 drawings by Di Cavalcanti in its possession of which only 5 were acquired through purchases and the others through the donation by the artist himself.
Style and subjects
Di Cavalcanti was obviously obsessed with the female body, since very many representations are to be found within the works he produced. The street scenes depicted by Cavalcanti are cheerful, characterized by a palette of bright colors and the depictions of everyday life in a normal, non-romanticized way. They evoke no strong political undercurrent, as do the works of such Mexican muralists of the 1930s and ‘40s as Diego Rivera and David Siqueiros. The works produced by these artists were part of the revolutionary movement in opposition of the new revolutionary government who came to power in Mexico. Di Cavalcanti on the other hand refrained from overt political representations, although he himself was in a pursuit of perfecting a pure Brazilian art which had a clear break with European influences.
He tried through the creation of the Semana de Arte in 1922 and the Bienals in 1951 and 1953 to push for a true Brazilian art which was to be seen as separated from European stylistic influences. This was a dream and philosophy which can be seen as an ideal for Di Cavalcanti which was never found as one can see stylistic influences from the Italian Renaissance, Muralism, and the European Modernists.
Tarsila do Amaral (1886-1973), école moderniste
Tarsila do Amaral est une artiste-peintre brésilienne de l'école moderniste (1er septembre 1886 - 17 janvier 1973).
Elle est née en 1886 dans une famille aisée de la région de Sao Paulo — son père était un riche planteur de café — et suit l'enseignement de Pedro Alexandrino, avant de partir en 1920 à Paris pour y approfondir sa formation. Elle va y suivre les cours des artistes modernistes comme Fernand Léger, Albert Gleizes et André Lhote.
Elle développe peu à peu un style particulier et coloré, mêlant sa culture brésilienne avec les techniques apprises à Paris comme les dessins préparatoires et la mise en valeur des compositions. Elle va présenter des toiles invitant à l'imagination et à la rêverie.
Avec ses amis Oswald de Andrade — qui deviendra son mari — et Blaise Cendrars elle accède au monde des arts parisiens, mais retourne souvent dans son pays natal où avec ses amis Anita Malfatti, Mario de Andrade et Menotti del Picchia, elle va être l'iniatrice de l'art moderniste au Brésil.
Cícero Dias, né à Escada (Pernambouc) le 5 mars 1907 et mort à Paris le 28 janvier 2003, est un peintre moderniste brésilien.
À partir de 1925, il étudie la peinture à l'École des beaux-arts de Rio de Janeiro. Il fréquente les groupes d'intellectuels et d'artistes de l'époque et se lie d'amitié avec des modernistes de São Paulo tels que Mario de Andrade, Oswald de Andrade, Tarsila do Amaral et Emiliano Di Cavalcanti. C'est au cours d'un des voyages de Blaise Cendrars au Brésil que Dias fait sa connaissance.
En 1928, il fait sa première exposition personnelle et, en 1930, il participe à une importante exposition d'artistes brésiliens au Musée Nicholas Roerich de New York.
Plaque commémorative sur le domicile parisien de Cícero Dias au n° 123 de la rue de Longchamp
En 1937, il s'installe à Paris où il se lie avec Pablo Picasso, Fernand Léger, Paul Éluard et des membres du groupe surréaliste.
.