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193:, created an industry of sugarcane schnapps, taught for a while in his home town, becoming the director in 1938 of the Prensa del estado (State Press), then a year later established his own publishing house called Renovacão, which lasted from 1939 to 1942. The goal of the publishing house was proletarian education after Getύlio Vargas's Estado Novo. In 1941 Rego Monteiro published his pocket poems, most of which inspired the Concrete poetry in the next decade. He then went back to Paris where he published
258:, meaning cannibalize. For centuries other countries had been 'consuming' Brazil either by taking their culture for their own art or using the people for one's own work. Brazil artists wanted to take back their culture and have their turn 'consuming' other cultures. Artists would go to Europe learn they could and wanted to learn then go back to Brazil to use their knew knowledge, transforming it into their own unique Brazilian style.
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his most famous works. "A Crucifixão" and "A Descida Da Cruz" along with several of his other religious paintings feature figures that are forlorn, mourning, and crying, the color of the paintings also being very muted; which is very different from his brightly colored ceramics of indigenous. Because of their style, most of his religious-themed works are similar to
67:. At those academies he established close friendships with Parisian Modernists. With precocious talent, in 1913 and 1914 he showed his art for the first time by participating in the Hall of the Independent Artists (Salons des Indépendents), in the French capital. He returned to Brazil in 1917, and established himself in
238:
Vicente do Rego
Monteiro's art was known for its identity based nature. His works focused on showing the true identity of Brazilians and used the natives as way to illustrate it. Rego Monteiro was part of an artist group that focused was centered on modernism using pre-colonization native roots and
293:
During the early 1920s he started developing his “relief” style where is paintings looked like sculptures. They are two-dimensional and look like they are carved into the surface. A multitude of his relief paintings were of religious themes such as “A Crucifixão” (The
Crucifixion), which is one of
157:
effects. He would portray legends, talisman, and beliefs of the Amazon River
Indians, these themes stayed in his works for the rest of his life. He also challenged in his art the way Parisian artists portrayed Indians as
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At the same time the
Brazilian government was hosting Exposição Internacional do Centenário da Independência do Brasil (International Exposition of the Centennial of the Independence of Brazil) held at the capital
83:
and a maquette for the heroes of the 1817 revolution monument. The following year Rego
Monteiro worked on a drawing series inspired by the dancer Pavlova and created a ballet of indigenous legends of
51:
family in Recife. His mother was a professor and his father a businessman. He was born
December 19, 1899. He was known for being a Brazilian painter, poet and sculptor, by 1911 he went to
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In his poems, Rego
Monteiro was very whimsical with strong humorous undertones that mocked traditional Eurocentric travel narrative. Often he would use hieroglyphs in his poems such as
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then, after being weakened by a heart attack in 1955, he went back to Brazil and spent the rest of his life teaching at the
Instituto Central de Arte da Universidade de Brasίlia.
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was rapidly changing, the elite traveled often to Europe and would bring back the latest aesthetic ideas and contemporary art, which spread widely in a short amount of time.
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In 1930, Rego
Monteiro started participating in care races while promoting exhibitions of French art in Brazil. Three years later he returned home to
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He illustrated two books depicting modern art centered on the regional culture of
Brazilian natives and their traditions; one in 1923:
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wood. There Brazilian art became and showed Brazilian identity that they themselves would export similar to their wood. Soon came
370:. They, instead of overwriting the country's past, chose to redefine and exhibit the true Brazilian identity through their arts.
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he produced some of his best art that was known for its tension between universal and vernacular as well as how it appropriated
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which ignited new trends in the Brazilian Modernism movement. From 1922 to 1930 Vicente do Rego Monteiro was associated with
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567:"Modernismo Cultural e Historias Locales: Intercambios estéticos y simbólicos en la gráfica de Vicente do Rego Monteiro"
708:
595:
Wolfe, Edith (2014-01-02). "Paris as Periphery: Vicente do Rego Monteiro and Brazil's Discrepant Cosmopolitanism".
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He created a large impact on the Brazilian avant-garde movements, especially after he participated in the 1922
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Pau-Brazil was the movement where artists tried to create a uniquely Brazilian art and unique as their
21:
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399:"A Cobra Grande manda para a sua filha a noz de tucunã" (Big Snake sends her daughter the tucunã nut)
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was the turning point for Early Brazilian modernism, and from that exhibition sprang Pau-Brazil and
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87:. Two years later, in Recife, he did his first individual sample, presenting in 1920 and 1921 in
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Rego Monteiro was committed to a native and cosmopolitan approach. He lived and work in busy
463:"Guerreiro, vagalume, indiozinho montado" (Warrior, gloworm, and seated little Indian, 1920)
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173:.. He was supported by Maison de L’Amerique Latine and Revue de L’Amerique Latine while in
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142:. There was a fire at his studio that destroyed some of his works, but afterwards in 1928,
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35:, was a Brazilian painter, sculptor, and poet, born to a rich family. He was part of the
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Two with Brazilian subject matters, both titled "Lenda Brasileira" (Brazilian Legend)
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and tended to write in French, even though it would have Brazilian subject matter.
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suggested Rego Monteiro do a second solo show at the Galerie Bernheim Jeune.
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t exhibition of Latin American Artists, organized by Joaquίn Torres-Garcίa.
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that represented a different view of Brazilian identity. Writers such as
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411:"Retrato de Ronald de Carvalho" (Portrait of Ronald de Carvalho, 1921):
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346:. A group of modern artists decided to put on their own exhibition in
235:'s art was the final push to put Brazilian Modernism into full swing.
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Modernism was first found in writer's and poets' works such as
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exhibition and helped form the later Brazilian Modernism.
666:. Washington DC: Georgetown University. pp. 152–182.
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Legendes, croyances et talismans des Indiens de l'Amazone
439:"A Descida Da Cruz" (The Descent from the Cross, 1924)
549:. New Haven: Yale University Press. pp. 354–355.
527:. New Haven: Yale University Press. pp. 570–571.
417:"Cabecas de Negras" (Heads of Black Woman, 1920):
239:the regional cultural traditions and stories. The
31:(December 19, 1899 — June 5, 1970), born in
525:Inverted Utopias Avant-Garde Art in Latin America
206:
181:, Joaquίn Torres-Garcίa and a few other artists.
675:
642:. New York, NY: Phaidon Press. pp. 202–206.
571:Americanía: Revista de Estudios Latinoamericanos
451:"Maternidade Indigena" (native motherhood, 1924)
714:Alumni of the Académie de la Grande Chaumière
664:Sleek Words: Art Deco and Brazilian Modernism
547:Art in Latin America the Modern Era 1820-1980
47:Vicente do Rego Monteiro was part of a rich
640:Latin American Art in the Twentieth Century
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149:He then went back to Paris until 1930. In
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219:, who also were a part of organizing the
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223:. It started due to the transforming of
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448:"O atirador de arco" (the bowman, 1925)
382:Galérie de l'effort Moderne (1922-1930)
377:Solo show at the Galerie Bernheim Jeune
20:1921 Watercolor Maní Oca, the birth of
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483:"Vicente do Rego Monteiro - Biografia"
436:"A Crucifixão" (The Crucifixion, 1922)
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227:into the new urban cultural center.
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261:Vicente do Rego Monteiro also used
169:but drew from the native people of
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565:Lucero, María Elena (2017-07-18).
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454:"A crucifixão" (crucifixion, 1922)
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207:Artistic Movements and Meaning
24:, by Vicente do Rego Monteiro.
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387:Galérie Zack (1930): The firs
330:Galerie Bernheim-Jeune (1928)
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609:10.1080/00043079.2014.877307
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573:(in Spanish) (5): 124–154.
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99:. Eventually he settled in
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445:"A cacada" (Hunting, 1923)
132:Quelques Visages de Paris.
719:Académie Colarossi alumni
638:Sullivan, Edward (2000).
442:"O Urso" (the bear, 1925)
263:Japanese woodblock prints
662:Soler, Patricia (2014).
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199:and designed covers for
29:Vicente do Rego Monteiro
421:portrait of black women
298:'s "melancholic deco".
221:Semana de Arte Monderna
709:Académie Julian alumni
404:Semana de Arte Moderna
364:Emiliano Di Cavalcanti
337:Semana de Arte Moderna
324:Exhibition (1920-1921)
309:Exhibitions and Groups
277:, African tribal art,
241:Semana de Arte Moderna
113:Semana da Arte Moderna
103:after a heart attack.
79:he sculpted a bust of
37:Semana de Arte Moderna
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460:"Seated Woman" (1924)
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327:Galérie Fabre (1925)
320:Independent Exhibits
545:Ades, Dawn (1989).
408:"Negro Head" (1922)
704:People from Recife
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402:Presented at the
356:Oswald de Andrade
213:Oswald de Andrade
201:La Presse à Bras,
130:and one in 1925:
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489:November 30,
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358:and artists
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256:Antropofagia
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245:Antropofagia
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179:Pedro Figari
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689:1970 deaths
684:1899 births
267:Art Nouveau
252:paubrasilia
81:Rui Barbosa
678:Categories
468:References
191:Pernambuco
185:Later life
49:Pernambuco
625:191447309
617:0004-3079
579:2174-0178
348:São Paulo
303:Légendes,
229:São Paulo
225:São Paulo
117:São Paulo
93:São Paulo
61:Colarossi
43:Biography
394:Artworks
275:Art Deco
271:Futurism
63:and the
339:(1922):
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426:Cubist
171:Brazil
155:Cubist
136:Vittel
101:Recife
97:Recife
85:Brazil
73:Recife
33:Recife
621:S2CID
289:Style
175:Paris
167:Paris
151:Paris
91:, in
75:. In
53:Paris
613:ISSN
575:ISSN
491:2012
424:Two
374:1928
354:and
215:and
95:and
71:and
22:Maní
605:doi
134:In
115:in
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
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