The Reception of Italian art in Brazil in the Second Post-war Period: a Dialogue Between Bardi’s First Exhibitions and Mario Pedrosa’s Criticism

Abstract

This article will deal with the first two exhibitions of Italian art carried out by Pietro Maria Bardi, in Brazil, in 1946 and 1947, through the criticism of Mario Pedrosa, perhaps the most influential Brazilian art critic of the 20th century and who, at various times, dealt with the Italian art as something fundamental for the narrative of Western art (both traditional and modern), and also for Brazilian reality. Since Bardi’s exhibitions were the gateway for the critic to begin observing Italian art and interpreting its value for a reality far from Italy, such as Brazil, this text will focus on what allowed Bardi to arrive here and the context that framed the actions of fascist cultural policy and that anticipated Bardi’s action in the second post-war period, a moment that cannot be observed without taking into account the political situation in Italy and its international relations. It will be demonstrated how Italian art and culture were used during the 20th century as something fundamental for the international actions of fascist Italy and how it reverberates in the post-war period, when Italian art was used to rehabilitate the country as a free nation.