Mário Pedrosa’s Turn Point: From the Good Neighbour Policy in the United States to the Brazilian Modern Project (1938–1951)
DOI:
https://doi.org/10.25038/am.v0i21.359Keywords:
Mário Pedrosa, constructivism, portinari, Greenberg, abstract expressionism, Fernando PedreiraAbstract
Mário Pedrosa contributed in a decisive way to the formation and development of Brazilian politics and art in the 20th century. Pedrosa traveled to the United States and started to live in New York at the end of 1938. In the field of the arts, he took a position on the debate between Independent Revolutionary Art and Instrumentalized Art. In the essay “Portinari – from Brodósqui to the murals in Washington” (1942), Pedrosa overcomes the defense of art as a revolutionary weapon, which was his position at the conference on the German artist Käthe Kollwitz, presented at the Club of Modern Artists, in Brazil in 1933. From 1942, he approached the position of independence of art, in relation to the government's instrumentation policies.
Article received: December 16, 2019; Article accepted: January 31, 2020; Published online: April 15, 2020; Review article
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