5239 - Mário Pedrosa and the Constructivist art in the tropics

Since the decade of 1940 to the decade of 1950, Mário Pedrosa's writings enhanced the revolutionary importance of the aesthetic dimension. The Brazilian art intended to assert its utopian quality, so optimistic, looking for a social transformation and building a new country. That was the goal of cultural affirmation and entry of the country in modern times, sometimes misunderstood by international critics of the time (for example Fritz Nemit, Matianne Pitch), who considered the Geometrical abstract art outdated and hoped that the art of a tropical country. In 1959, the Austrian Critic George Lampe lauded the Brazilian abstract artists exhibition in Europe. If the connection between art and mass production seemed to accomplish the democratic and socialists objectives in the modern world, the aesthetic dimension was capable to offer to the men the width of the social transformation that it was processed. From the Russian constructivism to the renewed manifestations of the constructivist tendency - among them, the Geometrical abstractionists - sought to aim at the artistic work, inserting its in the collective activity of the society based on the planning of the production. That was the great contribution of the modern art, that it approximated the aesthetics and politics, artists and workers to change the world.

Keywords: Mario Pedrosa, aesthetics dimension, revolution of art

Author: Mari, Marcelo (Universidade Federal de Goias, Brazil / Brasilien)


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