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Brazilian painting, or visual arts, emerged in the late 16th century, influenced by the Baroque style imported from Portugal.Until the beginning of the 19th century, that style was the dominant school of painting in Brazil, flourishing across the whole of the settled territories, mainly along the coast but also in important inland centers like Minas Gerais.
The beginning of the 20th century saw a struggle between old schools and modernist trends. The Week of Modern Art festival, held in São Paulo in 1922, was received with fiery criticism by conservative sectors of the society, but it was a landmark in the history of Brazilian art. It included plastic arts exhibitions, lectures, concerts, and the ...
Brazilian Romantic painting was the leading artistic expression in Brazil during the latter half of the 19th century, coinciding with the Second Reign. It represented a unique evolution of the Romantic movement ; it diverged significantly from its European counterpart and even the parallel Romantic movement in Brazilian literature .
The painting, considered Meirelles' first major work, became one of the most popular artworks in Brazil [1] and is frequently featured in history textbooks. [10] The significance of The First Mass in Brazil was recognized the year after its completion when, in 1861, it was exhibited at the Official Salon of Paris.
The Problem of Race in Brazilian Painting, c. 1850-1920. Art History, 2015: 18–20. Ebony, David. Brazil's First Art Cannibal: Tarsila Do Amaral. Yale University Press Blog, 2017. Jackson, Kenneth David. Three Glad Races: Primitivism and Ethnicity in Brazilian Modernist Literature. Modernism/modernity 1, (1994): 89–112.
Victor Meirelles de Lima (18 August 1832 – 22 February 1903) was a Brazilian painter and teacher who is best known for his works relating to his nation's culture and history. From humble origins, his talent was soon recognized, being admitted as a student at the Imperial Academy of Fine Arts .
In 1952, he wrote an article titled “A Brazilian Indian Reinvents Painting” in the French journal Cahiers d’Art, which led to Chico's widespread recognition. Chabloz organized exhibitions of Chico's work in museums across Rio de Janeiro, São Paulo, Paris, and several Swiss cities.
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