Autographs by Bidu Sayão, Heitor Villa-Lobos and Roberto Burle Marx (1946)
Autographs by Bidu Sayão, Heitor Villa-Lobos and Roberto Burle Marx (1946)
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In 1946, Rio de Janeiro's intellectual and artistic elite witnessed Bidu Sayão's return to Brazil and requested more resources for culture from the state.
- Petition from the Ação Social Brasileira to the Mayor of the Federal District of Rio de Janeiro, with 45 signatures.
- 4 pages.
- 22.4 cm x 30.4 cm.
- In Portuguese.
- Rio de Janeiro, August 15, 1946.
- Good condition.
- Unique item.
Ação Social Brasileira
His Excellency Dr. Hildebrandro de Góes, Mayor of the Federal District
The artistic movement of Rio de Janeiro, for its broad development, cannot do without one or two more large concert halls, and on the other hand, the plastic arts urgently need adequate galleries for their exhibitions. Artists, intellectuals, and all those interested in Art come to Your Excellency to request that you favorably defer the just claim of AÇÃO SOCIAL BRASILEIRA, which by law already has the right to a plot of land in the central area of the city.
This high-culture venue will be a relevant service provided to the city, enhancing Rio de Janeiro in the eyes of all intellectuals in Brazil and abroad, and placing our Capital on par with the great Art centers of all the major cities in the world.
August 15, 1946
Bidu Sayão
Villa-Lobos
Burle Marx
and X other names.
In 1946, Bidu Sayão returned from the United States to Brazil for a period. She performed at the Theatro Municipal on August 15, 1946, in the production of Gounod's opera Romeo and Juliet, with conductor Jean Morel and the Theatro Municipal orchestra. This event was quite significant for the history of Brazilian music and culture, as Bidu Sayão was considered one of the best sopranos in the world at the time. Critics highly praised her performance, highlighting her crystalline voice and moving interpretation.
In the 1940s, Brazil was experiencing a period of great cultural and political ferment, and the city of Rio de Janeiro was considered the country's cultural center. Many Brazilian artists and intellectuals became involved in social and political movements that advocated for democracy, workers' rights, and the appreciation of national culture. Several important artistic and cultural movements emerged, such as modernism and the anthropophagic movement, which proposed a new way of thinking about and making art in the country.
It is likely that this petition was the first act of what would become, in 1948, the "Grupo dos Primitivos" (1), formed by artists, intellectuals, and personalities of Brazilian culture gathered by Bidu Sayão, with composer Villa-Lobos or landscape architect Burle Marx, among others whose signatures appear in this document. The group's objective was to promote national culture and value Brazilian roots, in contrast to the European influence that still predominated at the time.
The group held meetings, debates, and cultural events in the Anchieta Building, which became an important meeting point for Brazilian culture in the 1950s. These initiatives were of great importance in valuing Brazilian culture and promoting national art, and their influence can still be seen today.
In summary, we have here a petition marking a doubly historic moment for Brazilian culture. On the same page, we find the beautiful signatures of Bidu Sayão, Villa-Lobos, Burle-Marx, and many others. I am very happy to present this unique document to you.
(1) "Bidu Sayão and the Group of Primitives: Brazilian plastic arts and music in the 1940s" by Denise Mattar (book). "The Group of Primitives: an art and an idea of Brazilianness" by Cauê Alves (academic article)

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