In addition to his creative works, de Andrade was the driving force behind the internal structuring of SPAN (Servicio del Patrimonio Artístico Nacional), and a key figure in the group that was involved in the 1922 Semana de Arte Moderna. It would be difficult to sum up in just a few words the legacy and the writings of Mário de Andrade, who was a folklore researcher, cultural administrator, art critic, poet, and musicologist. See also the essay by Olívio Tavares de Araújo about Volpi “Com os olhos da história” ( 1111203). The São Paulo magazine Revista Acadêmica (1939–1940) devoted an issue to the life and work of the painter Lasar Segall ( 1110322). On the subject of the beginning of the above-mentioned painting movement in the 1930s, see the essay by Mário de Andrade on “Hugo Adami”. The group organized three “salões” between 19. Most of them were Italian by birth, and some were already members of the group known as Grupo Santa Helena. This was the defining characteristic of the work by artists who were involved with the FAP (Familia Artística Paulista) from 1937, and whose paintings were exhibited for the first time at the Hotel Esplanada in São Paulo. He is referring to the fusion of traditional themes with technical and formal knowledge that achieves a given pictorial goal. In this essay, Mário de Andrade (1893–1945) discusses one of the most important aspects of painting produced in São Paulo during the 1930s and 1940s.
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