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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, the Carioca intellectual and artistic elite witnessed Bidu Sayão's return to Brazil and asked the State for more resources for culture.

Petition by 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. Single piece.

Brazilian Social Action

His Excellency Dr Hildebrandro de Góes, Mayor of the Federal District

The artistic movement of Rio de Janeiro, for its broad development, not being able to do without one or two more large concert halls, and on the other hand, the visual arts urgently lacking adequate galleries for their exhibitions, artists, intellectuals and all those who who are interested in Art, come to present to Your Excellency the request to favorably grant the fair claim of BRAZILIAN SOCIAL ACTION, which by law already has the right to land in the central area of ​​the city.

This high culture venue will be a relevant service rendered to the city, exalting Rio de Janeiro in the eyes of all the intelligentsia in Brazil and abroad and placing our Capital on a par with the great centers of Art in all the great cities of the world.

August 15, 1946

Bidu Sayão
Burle Marx

and X other names.

In 1946, Bidu Sayão returned to Brazil for a period from the United States. She performed at Theatro Municipal on August 15, 1946, in the production of the opera Romeo e Julieta by Gounod, with conductor Jean Morel and the orchestra of Theatro Municipal. This event was quite remarkable for the history of Brazilian music and culture, as Bidu Sayão was considered one of the best sopranos in the world at the time. Specialized critics highly praised his performance, highlighting his crystal clear voice and his emotional interpretation.

In the 1940s, Brazil was going through a period of great cultural and political effervescence, and the city of Rio de Janeiro was considered the cultural center of the country. Many Brazilian artists and intellectuals were involved in social and political movements that defended 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 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 brought together by Bidu Sayão, with the composer Villa-Lobos or the landscaper Burle Marx, among others whose signatures appear in this document. The group's objective was to promote national culture and value Brazilian roots, as opposed to the European influence that still prevailed at the time.

The group held meetings, debates and cultural events at 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 be perceived even today.

In short, we have here a petition marking a doubly historic moment for Brazilian culture. In it, on the same page, are 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 Grupo dos Primitivos: the Brazil of visual arts and music in the 1940s" by Denise Mattar (book). "The Grupo dos Primitivos: an art and an idea of ​​Brazilianness" by Cauê Alves (academic article)

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