Mário Pedrosa’s Turn Point: From the Good Neighbour Policy in the United States to the Brazilian Modern Project (1938–1951)

Authors

  • Marcelo Mari

DOI:

https://doi.org/10.25038/am.v0i21.359

Keywords:

Mário Pedrosa, constructivism, portinari, Greenberg, abstract expressionism, Fernando Pedreira

Abstract

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

 

Author Biography

Marcelo Mari

Department of Visual Arts, Universidade de Brasília
Brazil

Marcelo Mari has a Ph.D. in philosophy from the Universidade de São Paulo, Brazil (2006). He is currently an Associate Professor at the Universidade de Brasilia with experience in philosophy and focusing on History, Theory and Criticism of Art. Author of books on modern Brazilian furniture and Brasilia architecture.

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Published

15.04.2020

How to Cite

Mari, M. (2020). Mário Pedrosa’s Turn Point: From the Good Neighbour Policy in the United States to the Brazilian Modern Project (1938–1951). AM Journal of Art and Media Studies, (21), 87–99. https://doi.org/10.25038/am.v0i21.359