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ENGLISH VERSION FERTILITY AND KINDNESS

show that the non-approval by Washington what would be in dispute within the scope Autobiography being read and appreciated. It is because of all the issues raised here [6] On Nicola Rollo, see: KUNIGK, Maria Cecília see: Tadeu Chiarelli, A caipirinha e o
Luís – then governor of the state – of the of culture and art in São Paulo? Galvez recounts his encounter with Tarsila that Raphael Galvez: Autobiography stands Martins. Nicola Rollo (1889-1970). A sculptor french: Tarsila do Amaral e a devoração
project for a monument on the same subject, Rollo was a fundamental figure in the life during the artist’s first solo show in São as one of the main books on art in Brazil in Brazilian modernity . São Paulo: Master›s da modernidade via Léger . Bar Talk(r)
conceived by Brecheret, did not happen – or, of Raphael Galvez, but in his memoirs the Paulo, at Rua Barão de Itapetinga, in 1929. A launched in this year when the centenary of Dissertation. Dept. by A. Plásticas. ECA. 03.19.2020. https://artebrasileiros.
at least, it didn’t just happen. – due to the master assumes a certain role not exactly young Liceu student, Galvez and three other the 1922 Week of Modern Art is celebrated. University of Sao Paulo, 2001. com.br/opiniao/conversa-de-barr/a-
fact that the Portuguese colony had already – or not, only – because of the influence he colleagues went to visit the exhibition that This fact is so remarkable that I could not [7] Raphael Galvez contextualizes the practice caipirinha-eo-frances-tarsila-do-amaral-
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shown interest in donating to São Paulo a exercised in the formation of the sculptor/ would mark the history of art in the country. end these comments without lamenting of Ramos de Azevedo, when he provided ea-devoracao-da-modernidade-via-
monument in honor of the bandeirantes, painter, but also because of his eccentric What he narrates brings – in my opinion, the fact that the organization of the book, rooms for studios in the buildings he fernand-leger/
conceived by the Portuguese sculptor behavior, which seems to have marked the for the first time in Brazil – the painter’s by removing some excerpts from Galvez’s produced: “[…] In addition to the noble
Teixeira Lopes , but because there was former student and assistant, to the extent speech about how her work should be originals, made it impossible for the reader mission of giving young people a trade [17] According to José Armando P. da Silva
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already, at that time, another project in that Galvez, more than once, will recall facts experienced by the public. And, as a corollary, to get in touch with the considerations that or art so that they have a good future, writes: “Two topics were excluded. One
production: that of Rollo. that prove such eccentricity. we also have the way in which Galvez, then he would have produced about the Week The Doctor. Ramos has also always about the Second World War, which
Maria Cecilia M. Kunigk, in her Rollo, in addition to being a demanding an artist in training, received that guidance and its participants. . I conclude once again had the nobility to admire artists, both dwells on irrelevant details. Another on
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dissertation on the artist, states that, teacher, had habits that made the prudish on how to appreciate a work of modern by congratulating everyone involved for national and foreign, supporting them in the Modern Art Week, more opinionated
according to Rollo, when he was producing Galvez a little embarrassed, as in the period art. It is interesting to reflect on Galvez’s such an important launch and hoping that, their workspace, that is, in their works in and surely the result of an idiosyncratic
his life-size model for the monument in when he advised him on the production of attitude on that occasion; Immersed as he in a second edition of this autobiography, progress, giving these artists a place to set moment, which goes against the bonds,
honor of the bandeirantes in his studio a plaster sculpture, placed in the backyard was in a type of traditional art teaching, the let us have the pleasure of getting in touch up their work studios. The most suitable manifested in another chapter, with
at the Palace, the Revolution of 1924 of the master’s residence, on Alameda young man makes an effort to understand with all of Galvez’s text, in order to better place for this purpose was the Palácio das artists participating in the Week: Anita
broke out. would have prevented him Joaquim Eugênio de Lima: and respect the propositions of that artist, understand the reception that an event as Indústrias project, as it is very spacious Malfatti, Brecheret, Di Cavalcanti and
from entering his studio to moisten his One morning, he [Rollo] in a loincloth and so far removed from the ordinary reality of important as the 1922 Modern Art Week and more accessible to the installation of Tarsila. A few other cuts focused on
work in clay daily, because the Palace had a white hat (…), went out into the backyard Lyceum classes. had for an artist so close – and at the same workshops”. IN GALVEZ, R. op. cit . pg. 168. digressions and unnecessary repetitions
been transformed into the headquarters. to start this task [the production of the I have not transcribed a single line about time, so distant – from his protagonists. [8] On the subject read. Tadeu Chiarelli, in the narration”. GALVEZ, Raphael. Op.

Without the necessary care, the model plaster sculpture], in which I started to this meeting between the two artists, so as Menotti Del Picchia and the Monument Cit. page 8.
was destroyed. When, after the end of the help him. This outfit was noticed by the not to remove from the reader the desire [1] According to some colleagues from the to the Bandeiras: between the Capitoline
Revolution, Rollo was finally able to enter maids and even by the mistresses of the to directly access the text, which is so Brazilian Art History Committee, only two wolf and the tapir. Sao Paulo: ARS V. rEviEW Books [paGEs 72 and 73]
his old studio, the model was lost. This neighboring houses, as the backyards were significant. The only thing I can’t stop or three other local artists are known to 20 N.45 (2022): Brazilian Modernity
version spread by Kunigk is contradicted only separated by boxwoods (…). And, as myself from paying attention to is the fact have published their autobiographies. Special https://www.scielo.br/j/ ars/a/ PASOLINI, SCANDALIZED
by the reasoning that Raphael Galvez at that time the shame for nudism was a that, in the exchange of ideas between Here is some important survey work to PFY5zQhDvLBszBT4RNKn4JR/ Celebrated for his cinematographic
produced about the same case. We return, manifest fact and as Rollo’s loincloth was the painter and those young artists at the be done. [9] On the controversies surrounding the production, Pier Paolo also dedicated

then, to his autobiography. of a very fine fabric, which pronounced the time, it becomes evident how much Tarsila [2] GALVEZ, Raphael. Raphael Galvez: conception of the first model of the himself to literature and poetry; two recent

Galvez relates that, during the Revolution, masculine sex of the master too much, this was still connected to Fernand Léger’s Autobriography. São Paulo: Publisher Monument to the Bandeiras, by Victor national publications help to illuminate
this part of his personal life and critical
he – who was then assistant to Nicola Rollo provoked a tremendous comment and a real aesthetics, despite the fact that some years WMF Martins Fontes, 2022. Brecheret, consult, among others: intellectuality
in the Palace studio –, sneaking between scandal among these matrons and girls had passed since her closer contact with [3] “Raphael Galvez’s Modernism on the BATISTA, Marta R. Brecheret flags.
the obstacles that took over São Paulo, then from the neighborhood, which for a long the French artist. inside of life”, by José de Souza Martins. History of a Monument (1920-1953). São por miGuEl Groisman
under siege, went to the studio every day to time did not appear in the yard. 12 From Galvez’s report, it becomes clear IN GALVEZ, Raphael, on. cit. P. 14. Paulo: Department of Historical Heritage
wet the model, even risking reprisals from Galvez recounts other “exploits” by that Tarsila’s painting, with that “anonymous” [4] IDEM, page 19. of São Paulo, 1985. (in time: the book the simplifiCation neCessary to present
the rebels. Once the conflict was over, and Rollo, always linked to his interest in treatment, due to her interest in the [5] Since 2019, I have published in the Bar makes no reference to Nicola Rollo’s Pier Paolo Pasolini is an inglorious task:

Rollo found the model intact, without any nudism and athletics. However, one of the invisibility of brush strokes, etc., attested Talk(r) column the following articles project). his facets were multiple; among them, the
damage, he believed that phenomenon most interesting aspects of the sculptor’s to her commitment to a visuality committed about the Monument to the Bandeiras, [10] In her research on the Monument to one chosen by professor Maria Betânia
was actually a great miracle, which was thinking, something that even went beyond to speed as an inducer of a new sensitivity, by Victor Brecheret, and the debates the Bandeiras, by Victor Brecheret, the Amoroso to represent him was that of a
immediately contested by Galvez. According the limits of his artistic production – his what defined for her and her mentor Léger, on the need to build monuments that scholar Eliane Pinheiro found, in the certain “diagnostician of the times to come”
to the account, if not for the bravery and studies on the “perpetual motion machine” the very notion of modern . honor illustrious São Paulo citizens: Archive of the Pinacoteca de São Paulo, ahead of him. One of the main scholars of
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sense of responsibility of the then assistant, – does not seem to have conquered the The reader will have no difficulty in The Doctor and the Monuments a document dated April 22, 1933, signed the Italian filmmaker in Brazil, Amoroso
Rollo would have lost the work. interest of the former student . realizing how much that memory of Galvez 18.12.19. https://artebrasileiros.com.br/ by the then director of the Repartição was responsible for the translation and
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However, even having been preserved On the subject, Galvez only mentions an can bring new considerations about Tarsila opiniao/o-doutor-e-os-monumentos/ de Águas and Sewers of São Paulo. presentation of the Corsair Writings (Editora
with difficulty, the model, according to episode that took place at the São Paulo and her work. Seen by historiography as a The pantheon of São Paulo’s immortals: The letter, addressed to the director 34), a compilation of critical articles by
Galvez, did not have a happy ending. School of Fine Arts, where Rollo kept a painter interested in bringing a “primitive” tropical delirium in Pátio do Colégio 24.06.20. of the Pinacoteca, suggests that “a Pasolini, and for the book with the same
Shortly afterwards, it was removed from the room to carry out his research. One day, Brazilianness to the field of modern art, https://artebrasileiros.com.br/arte/o- plaster model, sold to the State by the name, published this year by Editora Nós,
Palace and taken to a shed in the Ipiranga Galvez recounts, one of the students static and in many cases dreamlike, Tarsila, pantheon-dos-imortais-de-sao-paulo- sculptor Rollo”, kept in the Repartição, in which Amoroso brings together a portion
neighborhood, from where it allegedly would have put a sign on the door of the in Galvez’s words, demonstrates her delirio-tropical-no-patio-do-colegio/ on the corner of Avenida D. Pedro I and of her notable research on it (the teacher’s
disappeared . room where Rollo was researching, which commitment to an aesthetic reception linked Bandeirantes on the move: between Avenida do Estado, be transferred to the interventions mentioned below will come
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In principle, these episodes may seem a read: La stanzzeta del moto continua “. to the speed of modern life. Undoubtedly, disputes and conciliation. 14.07.20, Pinacoteca, which would have better from this compilation).
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bit far-fetched, but without real importance, Galvez seems to have only mentioned the a deeper analysis of such a paradox can https://artebrasileiros.com.br/opiniao/ conditions to keep it. No reply was found In the year of his centenary, exhibitions
since the monument in honor of the episode to subtly underline his influence on bring another degree of understanding b a n d e i r a n t e s - em - mo v i men t o - to this letter. and retrospectives illuminate his celebrated
bandeirantes proposed by Rollo would the master and that’s because, according about the artist’s work. entre - disputas- e - conciliacao/ [11] For more information on the subject, cinematographic contribution – made up
never have been executed. However, if to the author, the only reason the student Tarsila, one of the main Latin American Where graffiti screams: São Paulo in consult: Bandeirantes in movement: of titles such as Mom Rome , The Gospel
Galvez’s statements are proven, the non- who made the plaque was not expelled was painters, appears in Raphael Galvez’s the 90th anniversary of the Avenidas between disputes and conciliations. Bar(r) according to Saint Matthew , The Trilogy
realization of Rollo’s project is no longer because he, Galvez, would have managed memorial text as a strong wind shaking the Plan . 14.08.20 https://artebrasileiros. Talk. 09.07.2020. (See note 5). of Life and Salò or the 120 days of Sodom–
explained by the incident caused by the to appease Rollo’s anger, who decided not structures of São Paulo art at the time. She com.br/opiniao/onde-os-grafites- [12] GAVEZ, Raphael. Op.Cit. 125 However, even before contributing to the
Revolution, raising other hypotheses to punish the student. may not have achieved the desired success, gritam-sao-paulo-nos-90-anos-do- [13] About these researches by Nicola Rollo, seventh art, Pasolini was already dedicated
about the sculptural environment of São If what Raphael Galvez wrote about this but by proposing to young students another plano-de-avenidas-de-prestes-maia/ see: KUNIGK, Maria Cecilia. Op. Cit. to poetry and literature, and, even when
Paulo at that time. Why, after the conflict, still virtually unknown Rollo provides yet way of thinking and reacting to the art of The Monument to the Bandeiras, by Victor [14] In free translation: “permanent bike room”. already inserted in the moving image
was the monument project not carried another justification for reading his memoirs, her time, she showed herself to be fully Brecheret: the present past . 20.12.21 https:// [15] Namely, Carlos Gonçalves, Ado Malagoli industry, he did not abandon such vocations,
forward, since Brecheret’s project had I have no doubt that considerations about connected with the aspirations of the artebrasileiros.com.br/opiniao/conversa- and Adriano Danti. GALVEZ, Raphael. much less the dedication to the critical
been rejected? Why was the model sent his contact with the much-studied Tarsila do Modern Art Week of 1922, although she de-barr/monumento-as-bandeiras-de- Op. Cit. P. 162. spirit, whose Conscious manifestation
to an Ipiranga shed? . Behind this quarrel, Amaral also reinforce the importance of his had not participated in it. brecheret-o-passado-presente/ [16] On Léger’s “presence” in Tarsila’s work, occurs even in his youth. “The very fact
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