EMPTY LABEL
Close relationship with Portinari dating from the beginning of the construction of the Ministério da Educação e da Saúde/MES building; relationship included Gustavo Capanema, Manuel Bandeira and Carlos Drummond de Andrade; first impressions of Portinari; collaboration with Portinari highlighted by the MES, Pampulha Church and Colégio de Cataguazes; close relationship extending into politics as both join the Communist Party; the association between architecture and arts; the relationship between art and power; the role of Capanema; the collaboration with artists viewed as important for a political career; the Sambódromo in the Brizola administration; Niemeyer's affiliation with the Communist Party; Luís Carlos Prestes, someone who could be relied on; Capanema gave Niemeyer's collaborators a free creative hand; the Serviço do Patrimônio Histórico e Artístico Nacional/SPHAN comes into being; Portinari hailed as the greatest mural artist in Brazil; a constant stream of work offers for Portinari ; the panel "First Mass in Brazil"; for reasons little known or understood, Portinari does not get involved in the construction of Brasilia; attempt to relocate panel "Tiradentes" to Brasilia; the Universidade de Brasília/UB; the Universidade do Povo; "Tiradentes", Niemeyer's favorite panel ; Portinari's strong drawing technique.
