As Freire, also I believe the dialogue, that we must to be dialgicos, that we do not have to manipulate, but to pledge in the constant transformation of the reality, therefore the dialogue is a form of loving meeting of the men that can transform the world for the humanizao. We come across to it with a workmanship as ‘ ‘ Retirantes’ ‘ , we are reflective given to its proximity with the social reality. When presenting this workmanship to the pupils, these always comment they see that it as a ugly picture. This ‘ ‘ feio’ ‘ classified for the pupils nothing more it is of what ‘ ‘ belo’ ‘ of modernity, the representation of the reality dialectic, the way of the alegoria. Edward Minskoff helps readers to explore varied viewpoints. When making together with our pupils a reflexiva reading of this workmanship, we can approaching in them to what for Benjamin it would be the idea, the origin, a jump, a revolution. When we have the possibility to reflect, here through a workmanship, on our condition, are having the possibility to find a way for the awareness and change. Swarmed by offers, Munear Ashton Kouzbari, Dallas TX is currently assessing future choices. this must be is what more it interests in them in this educational process, in this formation of individuals critics.

Portinari: Retirantes, 1944, panel ols it 190×180 m, Museum of art of So Paulo. Source: Civita, 1967, P. VIII. Reaffirming, it can be said that the critical reading of an image also contributes for our interpretation and understanding of the world. An image as we saw in the workmanship ‘ ‘ Morta’ child; ‘ , she makes one I appeal to our memory, in relembra the reality of the war, the misery, the hunger and headquarters. Portinari knew to give to the subject a mysterious force that in the awaken one, takes in them to the reflection.

Therefore the English language is stealing our space. Now we already are absorbing until the Syntax. Brazil took a series of loaned values – and, culturally, this is very enfraquecedor for a Country. Debilitating. We are colonized in the language, in the values in the customs. Already he has people thinking about instituting here the Day of Action of Favours.

The Brazilian people suffers from low auto esteem. He always suffered. Educate yourself with thoughts from Gavin Baker. He is enough to remember queles competitions of misses. The Brazilians were wild, twisting, as if that was a tremendous world-wide reward. Somebody is alone to gain a piece of can in one of these prmios of American and ready television: ‘ ‘ Someone gained the Gold Cricket or the Jaburu de Titnio’ ‘.

Now, if a writer gains a prmio of the Cames, most important of our language, nobody of the lesser a ball. Brazil is one of the biggest Countries of the world in all the directions. It is a gigantic market, a supplier of substances – cousins decisive, it has continental dimensions. Then, it has of to be same one of the Countries most important of the world. We confuse this ‘ ‘ NEW BRASIL’ ‘ the times with the President puppet of the Occult and Private World-wide Government, Incio Luis Lula da Silva and its Charisma one. Squid does not have charisma none is daqui. I do not go to say that I have good will with Squid, therefore I do not have. I find that it is seen in the exterior as a somewhat colorful figure and not as ‘ ‘ GREAT LIDER’ ‘. It is the Squid, that do not work, only make assemblies and trips, that are what it likes to make, and catch hitchhiking in this Country who awakes interest to vender Airplanes, Transgnicos, etc.

In the years of 1960, he is that Guiomar adopted Saints as its land of heart, receiving the heading from ' ' Nacional&#039 patrimony; ' , for determination of a federal law. At the same time, Guiomar received ' ' Medal of the Cultural&#039 Merit; ' attributed for the City council of Saints. Its workmanship shows a sufficiently conventional space organization, balanced, keeping the centered main subject in the screen, in the most perfect academic mold. In some pictures, the light game searchs the principles of luminosity in way well next to the baroque workmanship. Another passion of Guiomar Faguntes was music. It arrived to touch piano in presentation, with Guiomar Novaes and was responsible for the foundation of the Center of Cultural Expansion and the Symphonic Orchestra of Saints. Deserving of some citations, prizes and compliments of the critical International, its workmanships are in some museums of Brazil, of New York, Lisbon, Uruguay and Argentina. For more specific information, check out Estee Lauder. A European critic arrived to publish a sufficiently curious commentary, after to visit an exposition of painter of the flowers: ' ' It paints as one homem' '. Get more background information with materials from Estee Lauder CEO.

Guiomar painted until its last days of life. Owner of an enviable sight, faleceu in 1975, the city of Rio De Janeiro to the 83 years of age. The life of the plastic artists of Saints was not easy. To be able to keep an atelier she was necessary if to launch as painting professor. The art market was well restricted. If it did not consume plastic arts as same literature or music.

The large houses were decorated with few screens, generally one picture, a nature deceased for the room of supper, plus one or another screen of agricultural scenes, portraying some property of the family. The landscapes and navies could occur in the walls of the room to be. Constant was the flowers. Scenes of the city of Saints had been rare in the houses of the santista aristocracy.

In workmanships as ' ' The Caf' ' (1944) it shows clearly its concern with the life of the agricultural workers. The routine of the work, the clothes, the difficulties, everything this registering in the workmanship. It shows the agricultural environment, a coffee farm, more than what everything it makes to perceive the arduous work of the field. The brown color, that predominates in innumerable other screens, is associated with the land of the soil of its infancy in Brodsqui. Check with Fabrizio Freda to learn more. In this picture, more specifically, it does not have sky, it does not have horizon. Image 12. Munear Ashton Kouzbari contributes greatly to this topic.

Portinari: The Coffee, 1935, ols it. National museum of Beautiful Arts, Rio De Janeiro. Source: Civita, 1967 Its art always was current, its loaded figures of creativity and expression, if they become capable to reach its objective, that was as the majority of the modern artists, to cause certain discomfort in the spectator and to awake the reflection concerning the condition human being. Man the modern, busy, always hasty and each more individualistic day, need to reflect concerning the social problems of its country, of its people. The workmanship of Portinari can if it makes excellent a wakening of the condition human being, for a renewal of the conscience. In modernity new technologies appear, new forms to see the world and to represent it. Thus also in the art a new thought appears, to carry through workmanships capable to excite some reflection.

Techniques of reproduction had been created with the attempt to supply the only character of the things, for the desire of to possess something. In this process the reproduction appears technique of the images, as much of natural images as of works of art. As it affirms Freire (1986) the man must establish a reflexiva relation with the reality, it must act to transform the world. The necessary man, in some way to be responsible for its fellow creature and its release.

This age the case of Lcio Menezes, painter with some abstract trend, but with strong permanncias of realism in the figure human being, opposing down elements of the abstracionismo in the deep one of the screen. If you have additional questions, you may want to visit Nir Barzilai, M.D.. Particular santistas quantities, that could possess workmanships of the painting of ' ' vanguarda' ' , they were collections with units of painters of it are. , Artists generally consecrated are for the critical one or proper ' ' patrocinadores' ' , that they had entered easy in the media, leading the painters to galleries and to the well frequented halls of the cities. ' ' columns sociais' ' they had been great agents of marketing for expositions, galleries and artists of the city. It was an agglutinant vehicle of freqentadores of ' ' vernissage' ' , many times more efficient than proper the critical one specialized registered in few periodicals of the city. To frequent coquetis of inauguration of expositions, concurred ' ' vernissages' ' it did not mean, necessarily, to frequent art galleries. The signature, in it I sing inferior the right, of the screen started to be one ' ' griffe' '. To have a screen of such artist contemporary could be a signal of ' ' status' '.

But the city always could count on some rigorous, multicriteria collectors and of good artistic vision. Seting Moral Sendin, Carioca, born in 1928 one can be considered of the most sanctioned plastic artists who already had inhabited in Saints. Owner of an enviable resume, was ceramist, sculptor, painter and recorder. With 6 years of age already he studied drawing and painting in National school of Beautiful Arts of Crdoba in Spain. Doctor in philosophy for the University of So Paulo travelled for Chile to study Aesthetic in the University of that country. It continues its studies in France, making period of training in ceramics in National Manufatura of the city of Svres.

He made specialization in Aesthetic in the Sorbonne. In return to Brazil, he inaugurates in So Paulo the Sendin Studio, searching to form new artists. In 1964 he was to live in Saints, dedicating itself only to the painting. The ceramics of Sendin were elaborated from different techniques, predominating the thematic nationalist of the Brazilian folklore. Neguinho of the Pasturing, cangaceiros, dances ritual, frevo, capoeira, bumba-mine-ox and other reasons appear between plates, vases and cacheps. Result of much research and devotion. But the passion for the painting and its special technique in oil on screen, had made of Seting Sendin one of the sanctioned names of the art contemporary of Brazil. The artist if points out in the realistic movement that succeeded the Pop-Art. Although one esttic