Emiliano Di Cavalcanti, Expressionist Composition: Naked Woman In Profile, Arm Raised, C. 1930 flag


563398-main-5e4c0abed7dcc.jpg563398-5e4c095a59224.jpg563398-5e4c095bb2ac6.jpg

Object description :

"Emiliano Di Cavalcanti, Expressionist Composition: Naked Woman In Profile, Arm Raised, C. 1930"
Expressionist Composition: Naked Woman In Profile, Arm Raised, Emiliano Di Cavalcanti, C. 1930
Sheet size 17.5 x 13.5 cm.
Work on plain white paper produced before 1937. Drawing in Indian ink.
Signature of the workshop stamp in the lower left corner of the work affixed by the Galerie Rive Gauche.

Work presented under glass with a silver leaf frame in external format 32 x 27 cm.

Origin and provenance: Galerie Rive Gauche, Noêmia Mourão, Solange Darbois and Mrs. Leon Paul Farge dit Cheriane.
Management: Rudi Augustinci
Located at 44 rue de Fleurus in Paris, the Rive gauche gallery was founded in the early 1950s by collector and art historian Heinz Berggruen. He presented around 80 exhibitions there until the end of the 1970s. He was always attracted by rare and little known works by the great artists of his time: beautiful prints of engravings by Paul Klee or Pablo Picasso, paper cutouts from Henri Laurens or Henri Matisse, woodcuts by Joan Miró or watercolors by Fernand Léger or Roger de La Fresnaye.
He also had a personal collection of major works from the 20th century.

Good condition, slight dusting due to the passing of time, some creases and redness.

Biography:

Emiliano Augusto Cavalcanti de Albuquerque Melo (September 6, 1897 – October 26, 1976), known as Di Cavalcanti, was a Brazilian painter who sought to produce a form of Brazilian art free of any noticeable European influences. His wife was the painter Noêmia Mourão, who would be an inspiration in his works in the later 1930s.

Born in Rio de Janeiro in 1897, Di Cavalcanti was influenced by the intellectuals he met at his home of his maternal uncle, a figure of the abolitionist movement.This would provide the basis for a lifelong politically driven artistic career, which would start by the production of a drawing published by the magazine fon-fon. He engaged in a pursuit for a Law degree in São Paulo but did not manage to complete this pursuit. Di Cavalcanti moved to São Paulo in 1917. At this time he held his first exhibition at the Editora do Livro (o livro bookstore) in São Paulo. This first exhibition would only include caricatures with very viable symbolist influences to be found presented in the works.

In 1918, Di Cavalcanti would become part of a group of intellectuals and artists in São Paulo which would contain artist like Oswald de Andrade, Mário de Andrade, Guilherme de Almeida, etc. This group would be the direct cause for bringing the Semana de Arte (week of modern art) in life in 1922. This movement along with the Group of Five wished to revive the artistic environment in São Paulo at the time and had as its main interest to free Brazilian art from the European influences found within it. Nevertheless, the works Di Cavalcanti displayed at the Semana revealed varying Symbolist, Expressionist, and Impressionist influences. This can thus be seen as a continuance of European stylistic influences and this would not change until Di Cavalcanti returned from Paris in 1925 to live in Rio de Janeiro once again.

Di Cavalcanti lived in Paris and Montparnasse from 1923 until 1925. During this time he was employed as a correspondent for the newspaper Correio da Manhã and attended classes at the Académie Ranson in Paris, which led him to meet European modernists like Pablo Picasso, Henri Matisse, Georges Braque, and Fernand Léger. During this time his feelings to create a true Brazilian art would flourish and thus lead to his later works.

In 1937, Di Cavalcanti and his wife Noêmia Mourão would set sail to Paris to stay there until the outbreak of World War II in the start of 1940. During this three-year stay abroad he was awarded a Gold medal in the Art Technique Exhibition in Paris for his murals in the French-Brazilian Coffee Company. After this Di Cavalcanti would produce around 40 works, only to be left behind when he and his wife fled the country on the eve of the German Nazi invasion. They arrived back in São Paulo in 1940. They arrived back in São Paulo in 1940.
After his return to Brazil his nationalistic feelings became even stronger, as seen in his representations of mulatto women, carnivals, Negroes, deserted alleys, and tropical landscapes, subjects to be found in Brazilian everyday life and social settings and not in European settings. He lectured about these things in 1948 in the Museu de Arte de São Paulo, providing a lecture on modernism, expressing nationalism, and opposing abstraction. In 1951 the first of the Bienals, held at the Museu de Arte Moderna at São Paulo, featured Di Cavalcanti’s works, along with other artists from the South American continent who were seeking for a true national art. The Mexican Muralists Diego Rivera and David Siquieros were thus personally invited by Di Cavalcanti and actually attended. The exuberance and expression of true South American art was a very strong incentive for the founder, Francisco Matarazzo Sobrinho (also known as Ciccilo), to hold this exhibition again, and there was another exhibition in 1953. The works left behind after fleeing Europe in 1940 were to be recovered in 1966 in the basement of the Brazilian Embassy in Paris.
The friendship with Francisco Matarazzo Sobrinho was a direct effect to the donation of 559 drawing by Di Cavalcanti himself to the Museu de Arte Contemporânea which was founded by Ciccilo. The Museu de Arte Contempemporânea is also better known as the MAC and currently has 564 drawings by Di Cavalcanti in its possession of which only 5 were acquired through purchases and the others through the donation by the artist himself.
Di Cavalcanti was obviously interested in the female body, since many representations are to be found within the works he produced. The street scenes depicted by Cavalcanti are cheerful, characterized by a palette of bright colors and the depictions of everyday life in a normal, non-romanticized way. They evoke no strong political undercurrent, as do the works of such Mexican muralists of the 1930s and ‘40s as Diego Rivera and David Siqueiros. The works produced by these artists were part of the revolutionary movement in opposition of the new revolutionary government who came to power in Mexico. Di Cavalcanti on the other hand refrained from overt political representations, although he himself was in a pursuit of perfecting a pure Brazilian art which had a clear break with European influences.
He tried through the creation of the Semana de Arte in 1922 and the Bienals in 1951 and 1953 to push for a true Brazilian art which was to be seen as separated from European stylistic influences. This was a dream and philosophy which can be seen as an ideal for Di Cavalcanti which was never found as one can see stylistic influences from the Italian Renaissance, Muralism, and the European Modernists.
Price : 1500 €
Artist : Emiliano Di Cavalcanti
Period:20th Century
Style:Modern Art
Condition : Bon état

Material : Papier
Length: 17.5
Width : 13.5

Reference : 563398
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Emiliano Di Cavalcanti, Expressionist Composition: Naked Woman In Profile, Arm Raised, C. 1930
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