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<div class="wf-td hgroup"><h1 class="h2-size entry-title">Mário de Andrade e seus dois pintores: Lasar Segall e Candido Portinari</h1></div>
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<div class="wf-td hgroup"><h1 class="h2-size entry-title">Mário de Andrade e seus dois pintores: Lasar Segall e Candido Portinari</h1></div>
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<p>08/08/2015 ;a 06/10/2015</p>
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<p>Mário de Andrade (1893-1945) viveu entre os artistas de seu tempo. Porém, os seus dois pintores foram Lasar Segall (1889-1957) e Candido Portinari (1903-1962), não apenas porque revelaram tão profundamente a tipologia antagônica de sua personalidade, mas, principalmente, por encarnarem os heróis maiores da epopeia crítica marioandradiana.</p>
<p>Na cena artística brasileira dos anos 1930-1940, Segall e Portinari eram, em sua opinião, os que contavam mesmo. O Modernismo brasileiro, do qual Mário de Andrade foi um dos construtores, representou um momento em que gênios nacionais eram forjados e apontados responsáveis pela cristalização de uma imagética nacional. Mário buscava um paladino para o presente e o encontrou, primeiramente, em Lasar Segall, pintor europeu emigrado na década de 1920 que trazia para o Brasil sua significativa maturidade plástica, com a consequência de intensificar extraordinariamente a vida artística entre nós. No entanto, o ano de 1931 proporcionou a Mário de Andrade uma de suas confessas vaidades: a de descobrir colombicamente e com firmeza o jovem brasileiro Candido Portinari em meio ao Salão Nacional de Belas Artes, no Rio de Janeiro. Se até então Segall melhor cristalizava o ideal de artista proposto por Mário, subitamente Portinari passava a rivalizar com ele para a consecução do projeto de criação de uma arte genuinamente nacional.</p>
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<p>A partir da “descoberta” de Portinari e à medida que este se consagrava como importante expoente do cenário e do mercado das artes plásticas brasileiras, Mário de Andrade começaria a viver “entre” os dois pintores. A competitividade entre os dois artistas, se não era certamente promovida ou causada por Mário de Andrade, sem dúvida passava também por ele, que tentava administrá-la, por vezes mitigando, por vezes fustigando. Nos últimos anos de sua vida, entretanto, as crônicas escritas sobre os seus pintores não eram mais cheques assinados em branco e a reavaliação crítica atingiu ambos ainda que a relação com Portinari e sua obra tenha saído ainda mais chamuscada. O momento era de profundas revisões, cujas consequências no pensamento marioandradiano não podem ser avaliadas com exatidão, já que sua morte colocou fim nesse processo.</p>
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<p>Na exposição, a obra de Segall e Portinari é abordada a partir da lente da crítica de arte de Mário de Andrade e de suas relações pessoais com esses artistas. As ideias e opiniões de Mário guiam a seleção das obras, distribuidas em pequenos conjuntos, e a ele pertencem todos os textos de comentários que acompanham os trabalhos.</p>
<p><strong>Anna Paola Baptista</strong></p>
<p>Curadora</p>
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<h5>Serviço</h5>
<p><strong>Museu da Chácara do Céu</strong></p>
<p>Rua Murtinho Nobre, 93. Santa Teresa. Rio de Janeiro</p>
<p>26 de maio a 27 de julho</p>
<p>Diariamente, exceto terças, das 12h às 17h</p>
<p><strong>Museu Lasar Segall</strong></p>
<p>Rua Berta, 111. Vila Mariana. São Paulo</p>
<p>8 de agosto a 5 de outubro</p>
<p>Funcionamento de Quarta a Segunda, das 11 às 19 horas</p>
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