EMPTY LABEL
Becoming a professional photographer; photojournalism; friendship with Bianco; industrial photography; the laboratory; Portinari seeks out a professional photographer to photograph his granddaughter; Portinari thinking of developing a series of works about his granddaughter; contact with Portinari through Bianco; Portinari's aversion to photography, movies and television; the idea of photographing Portinari at work; Maria and Portinari's aquiescence; studio's special lighting; payment for the work commissioned; Marysia Portinari; Portinari's attempt to be self-sufficient; Portinari's irascible mood and his irritability toward critics; visiting a sick Portinari; photographing Portinari for the last time; Portinari's contempt for Abstractionism; Portinari's irreplaceable position in Brazilian art; Portinari's vanity; Portinari's manias; photography proves helpful in the elaboration of portraits; Portinari's portrait clientele; "Portrait of Juscelino Kubistchek"; Damm's book "Um Candido pintor Portinari"; Portinari's love for granddaughter Denise; the beginning of Projeto Portinari; technical expertise in the Project's output; Portinari's concern with the photographic reproduction of his works; the technique of photographing them without reflection; Portinari's letter of sympathy to Damm on the death of his son; Portinari was a stickler for detail; fondness for Portinari is evident throughout Damm's book; criticism of the book; Portinari's stories; Portinari's erratic output; Portinari's gift to Damm on the death of his son; involvement in his relationship with Portinari.
