Different Conformations of Shyness
DOI:
https://doi.org/10.12957/matraga.2022.66117Keywords:
Modernism, Visual arts, Rodrigo Naves, Shyness.Abstract
This work discusses the opinions of the art critic Rodrigo Naves about the canon of the plastic arts spread by the modernism of 1922 and its developments. The work tries to contextualize the author’s restrictions about artists who became famous with these movements, Anita Malfatti and Tarsila do Amaral for example, as well as about the criteria used by modernist intellectuals in reflections on Brazilian painters. The method used is the analysis of different texts by the critic in order to underline the theoretical, historical and aesthetic assumptions that underlie his position. Moreover, the article seeks to understand the lineage of the visual arts composed by Rodrigo Naves in A forma difícil, in which names of the modernist canon do not appear.
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