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Telas que atravessam o Atlântico: pintura portuguesa no Rio de Janeiro e em São Paulo durante a Primeira República Brasileira (1889-1929)
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A recepção positiva do Naturalismo português chegado ao Brasil na transição para o século XX resulta de fatores diversos que transformaram a pintura produzida por uma das nacionalidades mais repudiadas da Primeira República em mercadorias amplamente buscadas e colecionadas pelo mercado local. A leitura dos jornais da época confirma que o ambiente xenofóbico vivenciado no cotidiano dos moradores de Rio de Janeiro e São Paulo em nada afetou a devoção dos compradores brasileiros pelo naturalismo enviado de Portugal. A presença constante dos pintores portugueses nos trópicos contribuiu para superar as barreiras do preconceito social e da distância diplomática. As centenas de telas mantidas no Brasil, por sua vez, estimularam a implantação de um efetivo diálogo cultural entre os dois lados do Atlântico.
The positive welcoming of the Portuguese Naturalism that arrived in Brazil during the transition to the 20th century results from a variety of factors that transformed the painting produced by one of the most repudiated nationalities of the First Republic into goods widely sought and collected by the local market. The reading of the newspapers of that time confirms that the xenophobic environment experienced in the everyday life of residents of Rio de Janeiro and São Paulo did not have any effect on the devotion of the Brazilian buyers to the Naturalism sent from Portugal. The constant presence of the Portuguese painters in the tropics contributed to overcoming the barriers of social prejudice and diplomatic distance. On the other hand, the hundreds of paintings kept in Brazil stimulated the establishment of an effective cultural dialogue between the two sides of the Atlantic.
The positive welcoming of the Portuguese Naturalism that arrived in Brazil during the transition to the 20th century results from a variety of factors that transformed the painting produced by one of the most repudiated nationalities of the First Republic into goods widely sought and collected by the local market. The reading of the newspapers of that time confirms that the xenophobic environment experienced in the everyday life of residents of Rio de Janeiro and São Paulo did not have any effect on the devotion of the Brazilian buyers to the Naturalism sent from Portugal. The constant presence of the Portuguese painters in the tropics contributed to overcoming the barriers of social prejudice and diplomatic distance. On the other hand, the hundreds of paintings kept in Brazil stimulated the establishment of an effective cultural dialogue between the two sides of the Atlantic.
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Pintura portuguesa na transição para o século XX, História da Arte Rio de Janeiro São Paulo República Brasileira Naturalismo Pintura brasileira Colecionismo Imigração portuguesa Intercâmbios luso-brasileiros Naturalism Portuguese painting in the transition to the 20th century, Brazilian painting Collecting Portuguese immigration Luso-Brazilian exchanges