EMPTY LABEL
His schooling in Petrópolis; enrollment in the Escola Nacional de Belas Artes/ENBA as a non-credit student; the course at the Escola de Arquitetura; the foundation of the ENBA; Frank Lloyd Wright; Debret; close friendship with Portinari at the ENBA; Portinari's intelligence and education; the contact with Portinari's parents; Rocha Miranda considers Portinari his greatest teacher; the gatherings at Aníbal Machado's house; Galerie Charpentier; Portinari's punctuality; preparation of painting material for Portinari's classes; the "blue Portinari"; Aldary Toledo; Villa-Lobos; Lelio Landucci and the edition of the book on Portinari; Pierre Verger; architecture in Brazil; the urbanization plans for Rio de Janeiro by Le Corbusier; monument to Colombo; the "Portrait of Olegário Mariano"; the influence of Modigliani on a phase of Portinari's painting; Afonso Eduardo Reidy; the death of Luiz Nunes; Warchavchik; comparison between Portinari and Segall; Guignard; the light of Brodósqui; the studio in Rua Marquês de Abrantes; André Lhote; the closing down of the Universidade do Distrito Federal/UDF in 1939; his work with Lúcio Costa at the Serviço do Patrimônio Histórico e Artístico Nacional/SPHAN; the Ministério da Educação e Saúde/MES murals; Bianco; Georgina de Albuquerque; the talent of Flávio de Carvalho; the children's drawing exhibition at the Instituto dos Arquitetos do Brasil/IAB; Augusto Rodrigues; Portinari intoxicated by lead oxide; work in Brasília; Athos Bulcão; the coming of the Missão Francesa to Brazil brought by D. João VI, in 1816; Rocha Miranda shocked with the news about Portinari's death; Portinari's exile; Portinari's love for Brazil; Portinari's obsession in learning how to draw; Portinari's concern with Ecology; Hans Staden; the gatherings at Portinari's house; Portinari's artistic independence; Lévi-Strauss and the Indians; the architectural ensemble of Diamantina.
