EMPTY LABEL
Moving from São Paulo to Rio; meeting Portinari; Portinari's obsession with painting; the arguments between Mário de Andrade and Portinari; Portinari's reaction to criticism; Ballet Russe; the set and costumes of "Iara Ballet"; Portinari's criticisms of other painters; the gatherings at Portinari's house; becoming increasingly reclusive towards the end of his life; Portinari's mastering of drawing and technique; Portinari writes poetry in his last years; the difficulty in persuading Portinari into painting theater sets; Vania Psota; the indifference of Portinari towards music; Villa-Lobos; Manuel Bandeira; the painting "Scarecrow" inspires a ballet; Santa Rosa; Mignone's difficulty in writing popular music; "Valsas de Esquina"; a trip to Europe; Mário de Andrade's letters; the argument between Mário and Oswald de Andrade; praises Portinari as both an artist and craftsman; Semana de Arte Moderna; publishes the book "A Parte do Anjo"; Portinari's intimate painting; equating musicians and artists; the opera "Sargento de Milícias"; the news of Mário de Andrade's death; the opera "O Café"; the artistic tour to Berlin during Nazism; "Maracatú do Chico Rei".
