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The Pinacoteca de São Paulo, an institution of the Secretary of Culture and Creative Economy of the State of São Paulo, celebrates the 100th anniversary of the Week of Modern Art with the exhibition Modernismo. Collection highlights.

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artists linked to the context of the Semana de 22 that are exhibited at the Pinacoteca do Estado and in the complementary area located at MASP

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artists linked to the context of the Semana de 22 that are exhibited at the Pinacoteca do Estado and in the complementary area located at MASP

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The Pinacoteca de São Paulo, an institution of the Secretariat of Culture and Creative Economy of the State of São Paulo, celebrates 100 years of the Week of Modern Art with the exhibition Modernism. The exhibition will be on display until December 31, 2022, at the Luz building.
It is composed of more than 134 works by artists connected to modernism, which will be identified with a special stamp. Among the works, the painting Amigos, by Di Cavalcanti that was present in the historical exhibition of the Week of 1922 that took place in the Municipal Theater of São Paulo. There will also be:  Antropofagia, Tarsila do Amaral (room 6); Self-portrait, Victor Brecheret (room1); Bananal, Lasar Segall (room 19); Couple on the balcony, Cícero Dias (room 16); Two Brothers, Ismael Nery (room 15); Perfume Carrier, by Victor Brecheret (sculpture atrium); Portrait Gofredo Silva Telles, Lasar Segalli (room 16); São Paulo, Tarsila do Amaral (room 10).
The exhibition Modernism. Highlights of the Collection is part of the program of the Tarsila Agenda, an initiative of the Secretariat of Culture and Creative Economy of the State of São Paulo that brings together commemorative events, unpublished content with information, history, curiosities, and interviews about the 1922 Week of Modern Art, considered one of the most important milestones in Brazilian culture.

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The Week of 22 took place in a scenario full of political, social, and economic tensions, during the period of the Old Republic, which was controlled by the coffee oligarchies and the politics known as Café com Leite (coffee with milk).

In addition, at that time it was common for people with greater purchasing power to study in Europe, and this happened with well-known Brazilian names such as Oswald de Andrade and Anita Malfatti. Both brought to Brazil a new conception of art, thus influencing the creation of the Semana de Arte Moderna event.

It was 99 years ago that the beginning of modernism in Brazil took place. A movement that became a cultural reference of the 20th century: the Week of Modern Art of 1922.

Also called the Week of 22, the Week of Modern Art took place in São Paulo between February 11 and 18, 1922, at the city's Municipal Theater. The year was not chosen by chance: it was intended to celebrate the centennial of Brazilian independence, and to mark the new era of artistic independence in the country.

One of the organizers of the Week of Modern Art was the intellectual Rubens Borba de Moraes who, because he was ill at the time, did not participate in the event. Rubens Borba de Moraes was a Brazilian librarian, bibliographer, bibliophile, historian and researcher, one of the pioneers of librarianship in the country.

The Special Collection Library of the University of Fortaleza has in its collection works related to the artists who make up the Brazilian modernism. The collection includes signed copies, first editions, and albums with original illustrations by Anita Malfatti, Mário de Andrade, Oswald de Andrade, Tarsila do Amaral, Di Cavalcanti, and Cândido Portinari.

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The Frogs
Puffing up their jowls,
They come out of the other shadow,
The frogs leap.
The light dazzles them.

In a snarl that terrifies,
The bullfrog shouts:
- "My father went to war!"
- "He did not!" - "He did!" - "He didn't!".

The bullfrog,
Watery Parnassian,
Says: - "My songbook
Is well hammered.

See how cousin
In eating the gaps!
What an art! And I never rhyme
The cognate terms.

My verse is good
Frumento without tares.
I rhyme with
Supporting consonants.

It's been fifty years
That I gave them the norm:
I reduced without damage
To forms the form.

Cry out the shoe
In skeptical criticism:
There is no more poetry,
But there are poetic arts..."

Roars the bullfrog:
- "My father was king!"-"Was!"
- "Was not!" - "Was!" - "Was not!"

Roars in a huff
The cooper-frog:
- Great art is like
Jeweler's favor.

Or a statuary's well.
Everything that is beautiful,
All that is various,
Sing in the hammer".

Others, toad-pipers
(An evil in itself fits),
Speak from their guts,
- "I know!" - "You don't know!" - "You know!"

Away from that shout,
There where most dense
The infinite night
Wears the immense shadow;

There, fleeing the world,
Without glory, without faith,
In the deepest ford
And lonely, it is

That you sob,
With cold,
Toad kuru
From the river's edge..

One of the main events in the Week of Modern Art was the reading of poems, the most striking was that of Manuel bandeira, the poem was called "Os Sapos" and harshly criticized the movement of parnasianism, he was extremely booed at the time.
In addition to the composition of "Os Sapos", Manuel bandeira wrote several other poems, including "Poética", in which he exposes his views and experiences, criticizing the Brazilian traditionalism, being considered a limiting of creativity, in this way the author defends several of the principles of modernism, among them freedom and experimentation.

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Artists and texts from the Modern Art Week of 22

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Artists and texts from the Modern Art Week of 22

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Poetics (1922)
I'm tired of the restrained lyricism
Of well behaved lyricism
Of the lyricism of the public servant with time book, spedient protocol and manifestations of appreciation to the director.
I'm sick of the lyricism that stops and goes to the dictionary to check the vernacular nature of a word.
Down with the purists.
All words, especially the universal barbarisms
All constructions, especially the exceptional syntax
All rhythms, especially the innumerable ones
I've had enough of the lyricism that flirts with
Politicians
Starchies
Syphilitics
All lyricism that capitulates to whatever is outside of itself.
Otherwise it's not lyricism
It'll be accounting table of cosines secretary of the exemplary lover with a hundred models of letters and the different ways of pleasing & aggravating women, etc.
Rather, I want the lyricism of the madmen
The lyricism of the drunks
The hard, poignant lyricism of the drunks
The lyricism of Shakespeare's clowns.
- I don't care about the lyricism that is not liberation.

Beautiful, Well Treated Girl (1922)
Beautiful, well-treated girl,
Three centuries of family,
Dumb as a door:
A love.
Grand-fine of shamelessness,
Sport, ignorance and sex,
Dumb as a door:
An ass.
Chubby, philanderous woman,
Gold through and through,
Dumb as a post:
Patience...
Plutocrat without conscience,
Nothing door, earthquake
That the poor man's door breaks down:
A bomb.

Written by Mário Andrade, the poem is a satirical portrait of Brazilian high society.
Mário describes that although their appearance was well cared for, full of wealth and luxury, these individuals were considered dumb and superficial. In the last stanza he states that the "plutocratic" individual, that is, the rich who exploits the poor, may not be dumb but he is dangerous.

Motive (1963)
I sing because the instant exists
and my life is complete.
I am neither happy nor sad:
I am a poet.
Brother of fleeting things,
I feel neither joy nor torment.
I cross nights and days
in the wind.
Whether I crumble or build,
whether I remain or crumble,
-I don't know, I don't know. I don't know if I stay or pass away.
I know that I sing. And the song is everything.
The rhythmic wing has eternal blood.
And one day I know I'll be mute
- nothing more.

Cecília Meireles was a modernist poet who entered the second phase of the movement, in the poem "Motivo" she makes clear her relationship with the poetic work, showing her confused emotions, her way of dealing with the world and with what will be left at the end, that is, at her departure.

Solidarity (1941)
I am linked by the heritage of spirit and blood
To the martyr, the assassin, the anarchist.
I am linked
To the couples on the ground and in the air,
To the peddler on the corner,
To the priest, the beggar, the woman of life,
To the mechanic, the poet, the soldier,
To the saint and the devil,
Built in my image and likeness.

Part of the second phase of the modernist movement, Murilo Mendes was a major figure in the national avant-garde.
Inspired by the surrealists, the poet wrote on a variety of topics, ranging from religion to humor. A defender of poetic and political freedom, Murilo in his poem "Solidarity" reflects on humanity and on seeing beyond what separates us, remembering that regardless of the differences we are all equal, made of the same material.
Thus he questions the traditions, established as a function of power and money.

Song of homecoming (1925)
My land has palm trees
Where the sea sings
The birds here
Don't sing like those there
My land has more roses
And almost more love
My land has more gold
My land has more ground
Gold, ground, love and roses
I want everything from there
Don't let God allow me to die
Without returning there
Don't let God allow me to die
Without returning to São Paulo
Without seeing 15th Street
And the progress of São Paulo.

Composed by Oswald de Andrade, one of the most famous names of Brazilian modernism, the poem "Canto de Regresso a Pátria" (Return to the Homeland Song) quotes the verses by Gonçalves Dias in "Canção do Exílio" (1847).
In this way the poet's praise, who was in Portugal almost a century before, is recovered by Oswald and adapted to modern reality. Thus, he praises the homeland but focusing on São Paulo and the progress of the urban centers.

Holding Hands (1940)
I will not be the poet of a descrepit world.
Nor will I sing of the future world.
I'm stuck to life and I look at my companions.
They are tarciturn have high hopes.
Among them, consider the enormous reality.
The present is so great, let's not stray away.
Let's not go too far, let's go hand in hand.
I will not be singer of a woman, of a story.
I won't sigh at dust, the landscape seen in the window.
I will not distribute narcotics or suicide letters.
I will not flee to islands or be kidnapped by seraphim.
Time is my matter, present time. present men,
the present life.

As a second generation modernist, Carlos Drummond de Andrade was very attentive to the sociopolitical issues of the time. In the poem "Mãos Dadas" he refuses tradition, stating that he doesn't want to be stuck in the past, but also doesn't want to live in the future, so in this poem he stresses the importance of living the "now", that is, the present.

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It is man's inner reality, transiting between the real and the imaginary. He also demonstrated, at this time, concerns common to surrealism, with distortions that indicated a displacement toward the world of the unconscious and dreams. II - phase (1936-1960): experiments between figuration and abstraction.

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The impulse for the creation of this movement was precisely the painting Abaporu, which, as previously mentioned, means "man who eats people". This branch of art invited artists to produce works with a bias towards the country's culture, even if with influences from the European avant-garde.

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-Victor Brecheret “A portadora de perfume”

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-Victor Brecheret “A portadora de perfume”

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The Pinacoteca of the State has, in its collection, two versions of the sculpture "A portadora de Perfume" (or "A carregadora de perfume"), by Victor Brecheret: one in gilded plaster, acquired in 1927, and the other in bronze, acquired in 1998. The first was a donation by Victor Brecheret and the second a donation with Protocol of Intentions between the Pinacoteca of São Paulo State, the National Museum of Belas Artes, Safra Bank, and Sandra Brecheret Pellegrini.

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A Família Enferma is a pictorial presentiment, the record of a group of people, who have something in common. ... Straight and angular lines predominate, the situation is tortuous, far from the desirable, the one that was supposed to be appreciable for a family of the 1920s.

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Samba is the name of this 1925 painting. It was in this year that Di Cavalcanti returned from a stay in Europe, where he lived for two years and had contact with great names of the artistic avant-garde, such as Picasso, Georges Braque, Léger and Matisse.
Thus, it is possible to notice in this work striking modern characteristics such as the profusion of colors and the use of cylindrical shapes to build the bodies of the characters.
However, as was typical of Brazilian modernists, the artist here mixes these references with the reality of our people, exploring the samba, the sensuality of women, and bohemianism

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TRABALHO DIGITAL
ANA CLARA AGOSTINELLI 01
GIULIA FREITAS 08
JÉSSICA MIGLIORINI 13
JULIA POLITO 17
SAFIRA CHINATO 27