EMPTY LABEL
His birth and childhood in Santa Catarina State; his arrival in Rio; the Escola de Arquitetura and the Escola Nacional de Belas Artes /ENBA; his keen interest in literature; the French Art Exhibition in South America in 1940; meeting Portinari; Portinari's academic background; his friendship with Portinari; the gatherings at Portinari’s house in Cosme Velho; Portinari and Graciliano Ramos; Portinari's sarcastic humour; Portinari’s 1946 show in Paris; Portinari and politics; the Bienal de São Paulo; the rivalry between the artists of Rio and São Paulo; Portinari exhibits his work at the Biennale (Venice); Portinari and Picasso; the argument between Portinari and Segall; Flávio de Aquino breaks off his relationship with Portinari; his professional life; the quarrel between figurative and abstract artists; the classical roots of Portinari's Modern Art; Guignard; the fixing of the Bienal de São Paulo prizes; the vanguard position of painting in relation to other cultural manifestations; the mastering of a classical technique by Portinari applied to Modern Art; Mário Pedrosa's Trotskist ideas; Maria Martins; the argument between Portinari and Léger on account of the decoration of Pampulha church; Portinari’s admiration for Delacroix; Portinari’s inclination for mural painting; the Renaissance-like technique used by Portinari.
