Page 106 - ARTE!Brasileiros #59

ENGLISH VERSION REACTIVATING ATTENTION

his long article, published in Anthropophagy Journal, not without irony, he describes the lunch that [3] – According to the heirs of the architect Gregori Warchavchik,
Menotti explains himself: the cannibals of Magazine made in honor of the Oswaldo Costa would have published the following text
clown Piolim. The author draws attention to the about the “Modernist House” designed by the architect
[24]
The fact is that Brecheret – the formidable sculptor predictable character of the lunch. He seemed to in São Paulo: “The first realization of modern architecture
of Eva, who with Anita Malfatti represented in plastic expect a more original encounter, since it was an in São Paulo”. Sao Paulo. Paulista Post Office. July 8,
art, the cry for renewal – begins to be considered event formulated by cannibals! 1928, p.3. The two articles on Tarsila were republished
past-life… For me, the Cyclopean creator of so There, Helios also pays attention to something in aMaraL, Aracy. Tarsila, her work and her time. São
many admirable things, despite having entered that reinforces the dimension of rupture between Paulo: Perspectiva/Edusp, 1975. Page. 463 et seq., vol. I.
a dangerous, intellectual and mannered art alley, the cannibals and the leaders of other branches [4] – “Tarsila do Amaral exHibitioN”. Paulista Post Office. São
continues to be one of the greatest artists born active in São Paulo. Note the absence, at lunch, of Paulo, September 21, 1929 p. 5; “Tarsila”. raposo, Antonio.
in Brazil [19] the “Macunaíma group” – read Mário de Andrade “Tarsila”. Paulista Post Office. São Paulo, September 22,
and followers. For the chronicler, Piolim seemed 1929, p.2.
Interesting as Helios, even apparently not agreeing to be above any quarrel between groups. He also [5] – aMaraL, Aracy. Tarsila, her work and her time. São Paulo:
with that judgment by Brecheret – that he had been draws attention to the absence of Plínio Salgado, Perspectiva/Edusp, 1975. Page. 267, vol. I.
one of its “discoverers” in the early 1920s –, he does Cassiano Ricardo, Candido Motta Filho and Alfredo [6] – “Revised magazines: the anthropophagous”. Augusto
not miss the opportunity to register his displeasure Ellis Jr. [25] . When asking himself the reason for de Campos. iN Journal of Anthropophagy. Reissue of the
in the face of the sculptor’s “intellectualist and the absence of these companions, he mentions Literary Magazine Published in S. Paulo – 1st. and 2nd.
mannered” bias. Oswaldo Costa for the first and only time: dentitions, 1928/29. São Paulo: Circle of the Book, 1975.
About the criticism made to Anita Malfatti in [7] – Ditto.
Anthropophagy Journal, Helios says: Why? Have they ever been eaten by cannibals? Would [8] – Ditto.
Bopp have devoured Plínio? Would Oswald d’Andrade [9] – aNDraDe, Oswald. Confessional Diary. Organized by Manuel
Anita takes the same ramp, in the concept of those have roasted Cassiano? And the skinny, nervous, da Costa Pinto. São Paulo: Companhia das Letras, 2022.
who push art down the abysmal slope of all “isms”… bone and muscle Motta who would have dared to [10] – aNDraDe, Oswald. Op.cit. p. 564.
Anita too, like Brecheret, needs to go backwards and confront him? And would Ellis […] be, like Jonas, [11] – Idem, pages 566 and 567.
go back to those healthy and strong expressions of struggling in Oswaldo Costa’s womb? [12] – Idem, p. 569.
personal art and admirable that he already knew how [13] – Although he always refers in an uncomplimentary way
to document with beautiful canvases. But Anita is Mysteries… The fact is that the tribes are at war [26] to the latter.
still, like Brecheret, a saint of my highest cult. Great [14] – aNDraDe, Oswald. Op. cit. page 563.
talent, great sensitivity, great culture [20] . Menotti ends the article regretfully with the cooling [15] – “Moquen ii – Hors d’oeuvre”. Oswaldo Costa (As Tamandaré).
situation between the groups, addressing the Anthropophagy Journal. 14. 04, 1929
As seen, the author reinforces the impression that cannibals also in a conciliatory way: [16] – “Moquem iii – Entrances”. Oswaldo Costa (as Tamandaré),
Malfatti’s painting had regressed in quality, but he Anthropophagy Journal24. 4. 1929. Here, Costa makes
does not fail to record that it, like Brecheret, was in I am for peace. On the sidelines, quiet, taking notes, reference to painting Resurrection of Lazarus, by Malfatti
high regard at his altar. I drag the sadness of an old father who sees his (today in the collection of the Museu de Arte Sacra de
These statements about the two artists – by family disunited... São Paulo), a work of debatable quality, within the artist’s
the way – clearly portray how much Menotti Del set of paintings, and which Andrade praised, aiming to
Picchia strove, in his articles and chronicles, to My dear Cunhambebes (friends): I greet you from interfere with the Government’s decision to buy the piece.
attenuate the criticisms he might have in relation the bottom of my heart and I prepare my pipe so In a letter from the critic to the painter, Mário states that
to the production of an artist or a man of letters, that we can always exchange the puffs of the smoke due to their friendship, he publicly lied about the work,
seeking a balance between appreciating and not of friendship. providing her with qualities that she did not have. On the
appreciating, between respect for the author’s (or subject, read: aNDraDe, Mário. Mario de Andrade. Letters
author’s) individuality and adherence to certain Yours truly and always for new agapes to Anita Malfatti. Rio de Janeiro: University Forensics, 1989.
schools, etc. [17] – “Crisis in Modernism”. Helios (Menotti Del Picchia). Social
In any case, it is curious that he exercises this *** Chronicle. Paulista Post Office. March 20, 1929, p. 5.
type of practice that, in a “considered” way, tries Despite Menotti Del Picchia’s proposals for an [18] – It is important to emphasize that Helios makes clear the
to see what Malfatti and Brecheret have that is armistice, the divisions between São Paulo’s division he makes of modern art: on the one hand, the
good and objectionable, from the comments of cannibals and their former comrades will tend modernists, “vanguard artists”. On the other hand, the
an article that frontally attacks the two friends, of to worsen. From the end of the decade onwards, “new aesthetic spirit, that this is a state of consciousness,
whom he had been colleagues with since before each of those groups (and, in a way, each of the therefore a universal victory”. The author placed himself in
the Week of 1922 . individuals who formed them) will begin to walk this second, more comedic aspect. On the subject, read:
[21]
separately, alone, or in smaller groups, in opposite “”I’m modern, but I’m not crazy”. Menotti Del Picchia and
*** directions. art”. On press.
The article goes on to emphasize that the Thus, the myth of a triumphant modernism, as [19] – “Crisis in Modernism”. Helios (Menotti Del Picchia). Op. Cit.
verdamarelismo had also been attacked, as already mentioned, would only be constituted [20] – Ditto.
[22]
well as “macunaismo”, that is, Mário de Andrade. with the creation of the São Paulo Museum of Art [21] – Would there be in this attitude the emergence of some
Moving towards the end of the article, Helios draws and the São Paulo Museum of Modern Art, which kind of resentment on the part of the critic, in relation to
attention to a fundamental fact for him: while the crisis transformed the 1922 Modern Art Week into a the two artists? More studies may answer the question.
he had alluded to at the beginning was unleashed, splendid birthplace of modern art not only from [22] – “Verdamarelismo”, was the modernist trend created by
“pastism enters the golden age”. Faced with such São Paulo, but from all over Brazil. Menotti, Plinio Salgado and Cassiano Ricardo, in which
danger, he ends the text, in a conciliatory way, Raul Bopp (who later migrated to Antropofagia), Candido
exhorting the modernists to review their positions: Motta Filho and Alfredo Ellis Jr.
[23] – “Crisis in Modernism”. Helios (Menotti Del Picchia). Op. Cit.
Faced with such a serious crisis, I propose a general reference list [24] – “Letter to the Anthropophages”. Helios (Menotti Del Picchia).
armistice on the front wing: a solidarity, fraternal Social Chronicle. Paulista Post Office. São Paulo, April
reaction, forming a single front. Sus! At stake, the [1] – On the relationship between São Paulo modernism and the 17, 1929, p. 4.
verdamarelos, cannibals, macunaimos, free snipers, creation of art museums in the late 1940s, see: – cHiareLLi, [25] – It is important to note that from what Helios says, it
Frondists of all colors, rebels of all creeds! Tadeu. “Art in São Paulo and the modernist core of the seems that only he, Menotti, would have gone to the
Collection”. iN MiLiet, Maria Alice (ed.). Nemirovsky event organized by the cannibals. His conciliatory stance
Sus! I acted before in our squares some other bronze Collection. Rio de Janeiro: MaM, 2003. And, by the same would have been stronger than the attitude of Mário and
monster is articulated and our galleries are inflamed author: “What a pity Oswald was not born in Rio, right?”. his companions, and of his colleagues in the Verdamarelo
with some other chrome, similar to the poster of Conversa de bar(r) Digital platform of artebrasileiros movement. Menotti being the only “non-man-eater” at
Dr. Richard […] [23] magazine! February 7, 2022. https://artebrasileiros.com. the banquet says a lot about the intellectual’s personality,
br/opiniao/conversa-de-barr/modernismo-ruy-castro/ but it also says a lot about how the relationships between
*** [2] – aLMeiDa, Paulo Mendes de. From Anita to the Museum. the city’s artists and literati were frayed.
A few days later, Helios would publish the article São Paulo: Perspectiva, 1976 (Second edition: São Paulo, [26] – “Letter to the Anthropophages”. Helios (Menotti Del
letter to the anthropologistphages, in which, Terceiro Nome, 2014). Picchia). Op. Cit.
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