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Artistic Migration

Artistic Migration: Reframing Post-War Italian Art, Architecture, and Design in

Brazil investigates a selection of works by Italian artists and architects, and an art
critic and dealer, who immigrated to Brazil after World War II, and were involved
in the first activities and opportunities created by the São Paulo Museum of Art
(MASP).
Although foreigners, these experts, namely Bramante Buffoni, Roberto ­Sambonet,
Lina Bo Bardi, Giancarlo Palanti, and Pietro Maria Bardi, were engaged in the con-
struction of paths for Brazilian art, architecture, and design, in production marked by
the intertwining of artistic disciplines. By examining the works produced between
1946 and 1991, and focusing on the relationship between art and architecture, with
previously unexplored cases, the text investigates how these actors engaged in the
dilemmas of Brazilian culture and became part of its invention. The intention is to
understand the nature and meaning of this recognizable experience, the continui-
ties of and ruptures from modern architectural, art and design ideals, pre-war expe-
rience, and immigration, illuminating a complex framework of relationships with
­local ideas.
The approach and the extensive archival research in Italy and Brazil adopted for
the book sheds new light on critically rethinking and reframing Italian and Brazilian
cultural events, and will be of interest to architects, researchers, teachers, and stu-
dents interested in the history of architecture, museums, design, and art.

Aline Coelho Sanches is Professor of the Theory and History of Architecture at

the University of São Paulo, Institute of Architecture and Urbanism (IAU-USP),
Brazil. She holds a PhD with honors in Architectural Composition from Milan
Polytechnic, and bachelor’s and master’s degrees in architecture and urban plan-
ning from São Paulo University. She has for several years studied the role played
by Italian architects who immigrated to Brazil, publishing in international collec-
tive volumes and journals. She coordinated the axis of documentary study of the
history of the Glass House, built by Lina Bo Bardi and Pietro Maria Bardi, on
the team in charge of its Conservation Management Plan, funded by The Getty
Foundation’s Keeping It Modern Program. For one of the results of this work, she
received an award from the National Association for Research and Graduate Stud-
ies in Architecture and Urbanism, in 2020. She has worked as an architect on public
and private projects.
Routledge Research in Architecture

The Routledge Research in Architecture series provides the reader with the latest
scholarship in the field of architecture. The series publishes research from across
the globe and covers areas as diverse as architectural history and theory, technol-
ogy, digital architecture, structures, materials, details, design, monographs of ar-
chitects, interior design and much more. By making these studies available to the
worldwide academic community, the series aims to promote quality architectural
research.

Curated in China
Manipulating the City through the Shenzhen Bi-City Biennale of Urbanism\
Architecture 2005–2019
Monica Naso

Urban Labyrinths
Informal Settlements, Architecture, and Social Change in Latin America
Pablo Meninato and Gregory Marinic

Architectural Exaptation
When Function Follows Form
Alessandro Melis, Telmo Pievani and Jose Antonio Lara-Hernandez

Theorizing Built Form and Culture

The Legacy of Amos Rapoport
Kapila D. Silva and Nisha A. Fernando

Artistic Migration
Reframing Post-War Italian Art, Architecture, and Design in Brazil
Aline Coelho Sanches

For more information about this series, please visit: https://www.routledge.com/Routledge-Research-in-

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Artistic Migration
Reframing Post-War Italian Art, Architecture,
and Design in Brazil

Aline Coelho Sanches

Designed cover image: Photograph by Hans Gunter Flieg, 1969. Source ©
Instituto Bardi/Casa de Vidro © Hans Gunter Flieg/Instituto Moreira Salles
Collection.
First published 2024
by Routledge
4 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
605 Third Avenue, New York, NY 10158
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2024 Aline Coelho Sanches
The right of Aline Coelho Sanches to be identified as author of this work
has been asserted in accordance with sections 77 and 78 of the Copyright,
Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or reproduced or
utilised in any form or by any electronic, mechanical, or other means, now
known or hereafter invented, including photocopying and recording, or in
any information storage or retrieval system, without permission in writing
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Trademark notice: Product or corporate names may be trademarks or
registered trademarks, and are used only for identification and explanation
without intent to infringe.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging-in-Publication Data
Names: Sanches, Aline Coelho, author.
Title: Artistic migration : reframing post-war Italian art, architecture and
design in Brazil / Aline Coelho Sanches.
Description: Abingdon, Oxon : Routledge, 2024. | Series: Routledge
research in architecture | Revision and expansion of the author’s thesis
(doctoral)--Politecnico di Milano, 2012, under the title: Italia e
Brasile, oltre il ‘silenzio di un oceano’. Intrecci tra arte e
architettura nel Novecento. | Includes bibliographical references and index. |
Identifiers: LCCN 2023047798 (print) | LCCN 2023047799 (ebook) |
ISBN 9780367030940 (hardback) | ISBN 9781032729275 (paperback) |
ISBN 9780367030964 (ebook)
Subjects: LCSH: Art and architecture--Brazil--History--20th century. |
Brazil--Civilization--Italian influences. | Expatriate artists--Brazil. |
Expatriate architects--Brazil. | Expatriate designers--Brazil. |
Artists--Italy. | Architects--Italy. | Designers--Italy.
Classification: LCC N72.A75 S26 2024 (print) |
LCC N72.A75 (ebook) | DDC 700.981/0904--dc23/eng/20231129
LC record available at https://lccn.loc.gov/2023047798
LC ebook record available at https://lccn.loc.gov/2023047799

ISBN: 978-0-367-03094-0 (hbk)

ISBN: 978-1-032-72927-5 (pbk)
ISBN: 978-0-367-03096-4 (ebk)
DOI: 10.4324/9780367030964

Typeset in Times New Roman

by KnowledgeWorks Global Ltd.
To my parents.
Contents

List of Figures viii

Foreword: Italy and Brazil: The Dream, the Journey xi
Daniele Vitale 
Acknowledgments xv

Introduction 1

1 Ideas from Brazil: A Promised Land below the Equator 11

2 Mass Culture, Folk Culture: The Educational Aims

of Museums, Industrial and Graphic Design 61

3 Exhibiting and Demonstrating through Architecture:

Museum, Exhibit, and Retail Store Projects 106

4 A Space for Life, a Space for Art: The House, the Factory,
the Monument, and the City 147

Epilogue: Reframing, Discovering, and Inventing Culture 192

Index 197
Figures

1.1 Roberto Sambonet, Manuel Bráulio, 1949. Painting presented

on a full page of the Massuaguassu Exhibition Catalog
(Sambonet and Bardi, 1949, n.p.) 31
1.2 Pietro Maria Bardi, Photographs presented on a double page
of the Massuaguassu Exhibition Catalog, 1949 (Sambonet and
Bardi, 1949, n.p.) 32
1.3 Bramante Buffoni, Painting, c. 1955 38
1.4 Bramante Buffoni in Brazil, undated 39
1.5 Giancarlo Palanti, Photograph in the surroundings of Santos, n.d. 40
1.6 Rino Levi, Giancarlo Palanti and Roberto Sambonet in a rural
area, undated 41
1.7 Aspect of the selection of images by Lina Bo Bardi for her
article ‘Lettera dal Brasile’, in the L’Architettura Cronache e
Storia (Bo Bardi, 1956, pp. 182–183) 44
1.8 Lina Bo Bardi and Martim Gonçalves, Bahia no Ibirapuera, São
Paulo, 1959, View of the Exhibition 46
1.9 Lina Bo Bardi, Nordeste (Northeast), 1963, Salvador, BA 48
2.1 Page from Pietro Maria Bardi’s book, The arts in Brazil, a new
museum at São Paulo, 1956, presenting the Vitrine das Formas
(Showcase of Forms, then translated as ‘Cabinet of Form’) at
the São Paulo Museum of Art (MASP) (Bardi, 1956, p. 173) 69
2.2 Giancarlo Palanti, Bookshelf in his apartment, n.d., São
Paulo. The photograph shows Henrique E. Mindlin, Dirce
Maria Torres Palanti (Palanti’s wife), and Giancarlo Palanti.
Inside the bookcase are his collection of Carajá dolls, popular
ceramics, books, and paintings by Heitor dos Prazeres, his
wife’s father 71
2.3 Studio d’Arte Palma, Giancarlo Palanti, Armchair in ivory wood
and stretched leather with a buckle, n.d., São Paulo 75
2.4 Two pages from the first issue of Habitat magazine, 1950,
presenting Studio d’Arte Palma chairs, showing two armchairs
designed by Lina Bo Bardi and the interior of ‘cage’ boats from
Amazonia (Anon, 1950, pp. 54–55) 77
 Figures ix

2.5 Roberto Sambonet, Drawing, published on a full page of the

book 22 cause + 1, 1953 (Sambonet, Villa, and Huber, 1953, n.p.) 80
2.6 Roberto Sambonet, Cestino, for La Rinascente, 1955,
production Vittorio Bonacina 81
2.7 A page from Habitat magazine, n. 50, 1958, presenting posters
by Bramante Buffoni for the Olivetti exhibition at the Museum
of Modern Art (MAM), 1958, Rio de Janeiro (Anon, 1958b, p. 25) 85
2.8 Lina Bo Bardi, Solar do Unhão, detail of the Bowl armchair,
perspective of the Bowl armchair, Salvador, n.d. 90
3.1 Marcello Nizzoli, Giancarlo Palanti, Edoardo Persico, Lucio
Fontana. Competition for decoration of the Salone d’Onore for
the VI Milan Triennial, 1936, Milan 110
3.2 Lina Bo Bardi, São Paulo Museum of Art (MASP), Rua 7 de
Abril, 1947, São Paulo. Perspective – layout of the exhibition hall 115
3.3 Giancarlo Palanti and Henrique E. Mindlin architects, with
panels by Bramante Buffoni, Olivetti store, Rua Brigadeiro
Tobias, c. 1957, São Paulo 121
3.4 Giancarlo Palanti and Henrique E. Mindlin architects, with
panels by Bramante Buffoni, Olivetti Store, unidentified
location. c. 1958 122
3.5 Giancarlo Palanti and Henrique E. Mindlin architects, with
panels by Bramante Buffoni, KLM Travel Agency, 1959, São Paulo 127
3.6 Lina Bo Bardi, MAMB, c. 1959, Salvador, Bahia. View of the
Degas exhibition, 1960 130
3.7 Lina Bo Bardi, São Paulo Museum of Art (MASP), Avenida
Paulista, 1957–1968, São Paulo, Interior of the Pinacoteca 134
3.8 Lina Bo Bardi, Exhibition A mão do povo brasileiro (The Hand
of the Brazilian People), MASP, 1969, São Paulo. View of the
exhibition 136
3.9 Lina Bo Bardi in collaboration with Pietro Maria Bardi and
Roberto Sambonet. Exhibition O retorno de Sambonet (The
Return of Sambonet), MASP, 1974, São Paulo
View of the Exhibition 138
4.1 Lina Bo Bardi, Casa de Vidro (Glass House), 1949–1952, São
Paulo. Rose Patio (today Jabutis Patio), enclosed garden 159
4.2 Lina Bo Bardi, Casa de Vidro (Glass House), 1949–1952, São Paulo 161
4.3 Lina Bo Bardi, Casa de Vidro (Glass House), 1949–1952,
São Paulo 161
4.4 Pietro Maria Bardi and Lina Bo Bardi at the Casa de Vidro
(Glass House). Lina Bo Bardi’s birthday, 1989 163
4.5 Roberto Sambonet, Panel, c. 1950, for the Lily Building,
designed by Giancarlo Palanti, 1949–1951, São Paulo 165
4.6 Roberto Sambonet, Milano di Notte panel for a Piazza della
Repubblica building designed by Vito and Gustavo Latis,
1953–1956, Milan. Excerpt from the panel 167
x Figures

4.7 Roberto Sambonet, Bene arrivati a Milano, manifesto for the

XXXIV Fiera, La Rinascente, 1956, Milan 168
4.8 Bramante Buffoni, Excerpt from panel for Olivetti’s offices in
Brazil, c. 1958, São Paulo 169
4.9 Full page from Gebrauchsgraphik magazine showing a report
on the work of Bramante Buffoni (Anon, 1953b, pp. 32–33) 170
4.10 Bramante Buffoni, Panels for the meeting room at the Olivetti
offices in Brazil, c. 1958, São Paulo, project by Giancarlo
Palanti and Henrique E. Mindlin architects, 1957–1966, São
Paulo (Bardi, 1958, p. 3) 171
4.11 Henrique Mindlin and Giancarlo Palanti, with collaborators.
Brasília, Pilot Plan, 1957 175
4.12 Lina Bo Bardi and collaborators André Vainer and Marcelo
Ferraz, Sesc–Fábrica da Pompéia, 1977–1986, São Paulo. View
of the living space with fireplace and reflecting pool 180
4.13 Lina Bo Bardi, Sesc-Fábrica da Pompéia, 1977–1986, São
Paulo. Perspective, Mandacaru Flower, 1985 181
4.14 Lina Bo Bardi, Sesc-Fábrica da Pompéia, 1977–1986, São
Paulo. Modular sofa perspective, 1980 183
Foreword
Italy and Brazil: The Dream, the Journey

Daniele Vitale

A journey involves returning to where you began. A migration is uncertain.

­Migrations are long journeys, often with no return. They are driven by necessity
and drama, by hopes and desires. The destination is one of doom and salvation,
belonging to an imagined world.
The journey from Europe to the East was different from the journey to the
­Americas. The East was full of distant and ancient civilizations, worlds of won-
der and the unknown: profoundly different from Europe. There was the abyss of
discovery and encounter. The history of the Americas was different: it was the
scorched earth, whose civilizations had been violently eliminated and only per-
sisted as a myth. They were a stratified bubbling mixture of peoples and cultures:
Europeans, ­Africans, Asians arriving in waves of migration overtime.
Brazil, more than any other, is the country of a thousand backgrounds and a
thousand colors. A small group of Italian artists and architects moved there in the
years before, during, and after World War II. They did so with different and, some-
times, opposing motivations. They left and arrived. They left in fear. They carry
with them their countries, their cities, their world views. They carry that heavy
baggage and precious identity, suspended in expectation, but what they find is
­infinitely harder and harsher than they could expect.
It was simplistically presumed there would be a continuity between what the
newcomers had experienced before and after their leaving. Once in Brazil, like all
immigrants, they suddenly found themselves immersed in a different and unsettling
world, in an amalgam of lineages and culture. They discovered the contradiction
between dense urban realities full of drama, the emptiness of depopulated terri-
tories, and the immensity of landscapes where nature still dominated. And they
discovered the variety and contrasts of what was intended to be a nation. They
searched and perhaps discovered, even if they ultimately lived in a niche.
There was a context of their origin, which was the Italian community, compris-
ing people who also carried with them trades and knowledge. There were hundreds
of architects, technicians, and contractors who contributed to the construction of
cities, in particular, São Paulo: they determined a good part of its facade, both its
historical side and the more modern and avant-garde. It is the safe space within
which the newcomers moved. This should not be forgotten, otherwise they would
seem lost in an abstract and individual void.
xii Foreword

They also find an enduring, powerful myth, which is that of modern archi-
tecture and its possibility to transform the world. As this ideal is deteriorating in
Europe and making way for other research trends, it remains alive in Brazil. It is
one of the ways to build the uncertain identity of a country. Brazil continues to be
the great laboratory of modern architecture, and as such, it becomes well-known
in the Americas and Europe. But the chimeras of the modern and its swirling
geometries coexist with the ambition for profit, the anonymity of poverty, the
blindness of walls. And together they coexist with an architecture of political and
civic engagement, noble in its forms. Controversies emerge, such as that of for-
malism, that belong first in the backyard of those who propose it from Europe. In
addition to this, there is the difficulty of communications, which occur via letters,
photographs, books, and travels. Through travel, Le Corbusier becomes the great
messenger.
The newcomers are not just individuals with a personal history: they have a
common culture of reference, that of rationalism. Seen from Italy, they bring across
the ocean a system of differences and contrasts, but from a Brazilian standpoint,
they become a group and an experience. This is also true when they arrived qui-
etly. Their strongest feud, even if only partly felt, is the one between Persico and
Pagano, which is political and moral, of ideas and images. Persico, who is fully
an architect, even if he is not given enough time to carry out the works, has few
followers in Italy: Albini, perhaps Gardella. In Brazil he finds, paradoxically, his
greatest ground for continuity, at least on the design level.
But the Italians’ contribution does not involve works that, a priori, are made
to draw attention; even though these works did take place. It comes more from
afar, from magazines, Casabella, Quadrante, Domus, from controversies, books,
standpoints, discourses. Because discourse is decisive and establishes the terms of
an interweaving of architecture, urbanism, and design. It happens in an uncommon
version in Brazil, and the scenario in which criticism operates is different. Critique
is not the commentary about the works, but the space in which they move and
find their home and relationships, friendships and enmities, metaphors and themes,
thoughts and developments, and in which they ultimately find the city. Cities, even
Brazilian ones, that seem to resolve themselves in the turmoil of the present, are
historical bodies in which times and forms are embedded in layers, in hidden or
obvious ways.
Therein, then, lies the Italian peculiarity: in having advanced germs of reflection
and terrains of analogies. And among them are the great themes of the exhibition
and the museum. They are metaphors. They say one thing to say another. In Italy
they had carried and continued to carry an important meaning. In Brazil they will
take on another. The former is a technique, that of representing and exhibiting; the
latter an institution linked to collection and memory, and whose roots go back well
into the past. Neither are architecture in themselves, but they allude and refer to
it. In the modern Italian tradition, exhibition design and museum are architecture
of absence (that is, they replace an architectural experience that in a proper sense
is not given) or formal experiments (that by other means and with other materi-
als would not be possible to perform). They pose the problem of the relationship
 Foreword xiii

between the object and the background and between the present and the past, at
smaller scales, metaphorically.
The issue of the exhibitions is related to the issue of presenting and highlighting
a system of objects, whether for commercial reasons, as in a store window, a store,
or product showcase, or for cultural reasons, as in an exhibition event or a museum.
The object to be displayed can retain autonomy or enter a plot that absorbs it and
makes it its own. Because the functional reason is not imposing and strong, this
plot can dematerialize and become light. It sails through the air as an abstract sign
system. It evokes architecture and is not architecture. It is a process of rarefying
form that is part of Italian rationalism and continues in different ways in Brazil. It
is another way of proceeding on the paths of abstraction, as opposed to the usual
paths of Brazilian architecture.
So it is in a museum. Its principle is estrangement. It neatly displays and pre-
serves things and objects, according to different logics, but by removing them
from their immediately human meaning and placing them in relation to each other.
It binds them, and by binding them, transforms them into something different.
­Architecture is the midwife and decides how to give birth to them. The peculiarity
of Lina Bo Bardi’s museum (or museums) is to take this characteristic to extremes.
The works forget walls and room divisions and are weightless, inside an undefined
space. That which was a problem for Albini, of not dominating the works through
their disposition, becomes Lina’s problem of freeing them from any kind of dis-
play. They sail into the void, beyond time, and rise in chorus. The subtlety of the
design is lost and the device responsible for support remains. It is a way of pursuing
paths of abstraction, parallel to the many others common in Brazilian architecture.
A network of museums came to be established in Brazil. But the one who origi-
nally gave them matter and nourishment, it should not be forgotten, was Bardi, with
the unscrupulousness, compromises, and cruelties of the merchant that he was, and
with his skills as a critic and his intellectual finesse. And it was the coming together
of historical and avant-garde art that made up the overall picture. Great European
art, which was in Brazil in photographs and books, with Bardi, became a presence.
But art is not just about museums. It can come out of them and have a second
existence. It can become part of architecture and contribute to its formation, and by
this route enter the circuit of things and life. It becomes a plastic reality and defines
vertical and horizontal surfaces; it can be an accompanying form or be based on a
play of chords and contrasts. A heritage of experiences, controversies, and theories
that Italian architects and artists brought with them meets differentiated and often
exuberant practices and research. It is a world that for the most part comes out of
the historical debate about the natural foundations of the arts, their imitative prin-
ciples, and their possible synthesis. The encounter between art and architecture is
a lush field not only Brazilian, but Latin American, with its own diverging direc-
tions. And it is part of a communicative will and a popular dimension that art would
naturally belong to. This was another of the fortunate encounters between Italian
and Brazilian culture.
Then there were the works. That which in the city has presence and leaves its
mark. They ranged from the purism that came from an Italian heritage, and for a
xiv Foreword

long time resisted, as in Giancarlo Palanti, to different and more expressive forms,
up to the latest, the strongest, that Lina created. And there were the great shared
political and moral choices. True, the sides have not always been sharp and clear,
but the Italians who took Brazil as their destination were not always on the right
side of history.
For them there was a previous life. A second one came, beginning around
their middle age. A line separates these lives. The second one grabbed them,
moved them, squeezed them into a rigid scenario. It brought them into a game
of mirrors in which the before is reflected and exchanged with the after and the
false with the true. In this labyrinth of mirrors, one enters to never come out
again.

***

Finally, I would like to raise a doubt. We could tell a story, describe its characters,
about a time crossed by Italy and Brazil. There is another one, however, of a more
private dimension, which reveals a second and stealthy truth. It concerns existence
as each person has spent it, and the outcome in which there were ruptures, cuts,
traumas. One can escape, travel, enter another place, decide what and who one
wants to belong to, but it is not possible to escape oneself. Only a poet can express
this, and among them the great Greek, Constantine P. Cafavy, in a poem I am not
given to reproduce, ‘The City’.

You won’t find a new country, won’t find another shore.

This city will always pursue you (…)1

Your past will come after you. You will grow old in the same roads. And in the
same roads your hair will become white – says Cafavy. You walked, but you stayed
where you were because your destiny was sealed. Perhaps it was so for the pro-
tagonists of this book. It touches on one story told through facts and perhaps an
alternative story might have occurred. But the historian is left with nothing but his
research and his work. Aline’s is a beautiful book because of its meticulousness in
reconstructing and compiling, but also because of its ability to reflect and recon-
stitute a picture.
Daniele Vitale
Professor of Architectural Design,
Politecnico di Milano

Note
1 Cavafy, C. P., ‘The city’, poem before 1911, translated by Edmund Keeley. From
Cavafy, C. P. (1992) Cavafy: Collected Poems. Princeton: Princeton University Press.
Translated by Edmund Keeley.
Acknowledgments

I would first like to thank the families of the characters involved in this book,
for their support, access to their archives and collections, their enthusiasm and
friendship over the years: Dirce Maria Torres, Mario Morelli, Marco Palanti, Carlo
Palanti, Ricardo Palanti, Piero Palanti, and all the members of the Palanti family;
Elisa Camesasca, Maia Sambonet and all the members of the Sambonet Family, to
the Bardi Institute, here represented by Renato Anelli, Anna Carboncini (in memo-
riam), Eugenia Gorini Esmeraldo; and Marcos Sérgio Anderman Silva and Patrícia
Paschoali Anderman Silva as well the family of Bramante Buffoni’s widow.
I must offer special thanks to Daniele Vitale, supervisor of the doctoral the-
sis that led to this work, for his support, care and teaching. I also thank Renato
­Anelli, co-­supervisor of the thesis, for his encouragement since my master’s
degree. Finally, I thank Paolo Rusconi, controrelatore (co-­examiner) of my doc-
toral thesis, for his perspective as an art historian and for his attention.
I thank Marcelo Suzuki, Marcelo Ferraz, Anna Carboncini (in memoriam),
­Eugenia Gorini Esmeraldo, Luisa Bernacchi (in memoriam), Mario Bardelli,
Walmir Lima Amaral, and Dirce Maria Torres for our conversations and their
­testimonies over the years.
I also thank Neusa Habe, and the employees of the Project Collection at the
­Library of the Faculty of Architecture and Urbanism, University of São Paulo (FAU-
USP); Ivani di Grazia Costa and the employees of the Archive and Documentation
Center, São Paulo Museum of Art (MASP); Paola Mezzaroma, of the Pirelli Indus-
tries Historical Archive, São Paulo; Natalia Leoni, of the Wanda Svevo Historical
Archive, São Paulo Biennial Foundation; Tommaso Tofanetti, of the ­Triennale di
Milano Archive; Andrea Lovati, of the Archivio Storico Fiera di Milano; Dario
Porta, of the Archives of ISIA Monza – Musei Civici di Monza; Renzo Cremanti,
Fondo dei manoscritti dell’Università di Pavia; Jussilene ­Santana, of the Martim
Gonçalves Institute, Thaiane do N. Koppe and all the people at the photography
section of the Instituto Moreira Salles; Elisabetta Pernich, of the ‘CASVA, gli
archivi del progetto a Milano’, Comune di Milano; the staff of the students and
teachers’ archive at the Polytechnic of Milan, and the Bottoni Archive, Polytechnic
of Milan; the libraries of Institute of Architecture and Urbanism, University of
São Paulo (IAU-USP), São Carlos School of Engineering, University of São Paulo
(EESC-USP), Polytechnic School, University of São Paulo (EPUSP-USP) and
xvi Acknowledgments

FAU-USP, and the Sormani Central Public Library Collection, Milan, and also the
Castello Sforzesco Library, Milan.
I thank Barbara Levi, Katia Mindlin, Nelson Kon, Peter Guthmann, Marcelo
Ferraz, and Lucas Corato for permission to use images and, to the latter, for his
support in research in Italy and Brazil.
I thank the magazines, journals, and publishers that authorized reproduction
of my texts: © Anais do Museu Paulista: História e Cultura Material, © Taylor &
Francis Group, © 2016 Hermann, Paris www.editions-hermann.fr All rights re-
served. Published by arrangement with Editions Hermann, Paris, France.
I thank the friends who read the text, discussed it, and offered essential support,
especially Fabiano Lemes de Oliveira and Marina Freire da Cunha Vianna. I thank
Zilda de Castro Silveira for her friendship and support throughout, and to Mara
Leal Godinho de Souza for the conversations about the book and the English lan-
guage. To Maria Alice Messias for her care over the references, her conversations
and friendship.
I thank my friends made and colleagues worked with in the almost five years I
lived in Italy, which I have returned to several times, and to the people with whom
I shared an interest in the subject, especially José Luiz Chacon for the discussions
and exchanges on art and architecture between Italy and Latin America, as well as
Angelo Lorenzi, Anna Maritano, Isabella Cuccato, Elham Saffarzadeh, Giacomo
Menini, Pierfrancesco Sacerdoti, Luisa Videsott, Veronica Verzi, Francesca Floridia,
Gyler Myditi, Chiara Occhipinti, Carlo Gandolfi, and Viviana Pozzoli. I thank the
professors on the doctorate program in Composizione Architettonica at the Poly-
technic of Milan, which I also thank for its PhD grant.
At IAU-USP, I owe special thanks to Joubert José Lancha. I also thank Brianda
de Oliveira O. Sigolo, Cleverci A. Malaman, and Paulo Victor S. Ceneviva for
their support with images and references. Finally, I want to thank Miguel Antonio
Buzzar, Givaldo Luiz Medeiros, Fábio Lopes de Souza Santos, Jeferson Tavares,
Andreia Carla Campana Salla, Valeria Ferreira Camargo Neves, Marcelo Bertini
Brocco, and Bruno Sevciuc.
I also thank the staff of Routledge, in particular Meghna Rodborne, Caroline Church,
Fran Ford, and Grace Harrison. I thank Kavitha Sathish in the production phase.
I thank Andrew Fox for translating the entire book and for his availability and
care. I thank João Paulo Duarte Diniz for the translation of the preface, revised by
Andrew Fox.
I thank all my family, in particular – Arnaldo Sanches Yanes, Carmen Silvia
Coelho Sanches, Lara Coelho Sanches, and Luciana Coelho Sanches – for all their
support and encouragement.
And finally, I thank Lina Bo Bardi, Pietro Maria Bardi, Bramante Buffoni,
­Roberto Sambonet and, in particular, Giancarlo Palanti, the historical figures who
gave their works and lives to this book.
Introduction

The immigration of artists and architects was a component of the experience of

modern art and architecture. An ancient theme of these disciplines, the displace-
ment of professionals has throughout history driven the circulation and transla-
tion of concepts and forms, comparisons and crises, welcoming and rejection, and
sometimes a two-way movement: the transformation of artists and architects by the
culture in the new places of arrival and, as in a set of mirrors, the transformation of
these same places by these people who came from outside.
In the twentieth century, with the increasing ease of movement of people, ideas,
and knowledge, and the tragic events linked to authoritarian governments and
wars, there were numerous examples of immigrant professionals. Alongside well-
studied cases, such as former Bauhaus teachers who immigrated to England and the
United States (Kentgens-Craig, 1999; James-Chakraborty, 2014; Powers, 2019),
during and after World War II, were many lesser-known European artists and ar-
chitects who moved to the United States, the Soviet Union, Israel, China, Japan,
Australia, and countries in Africa, Latin America, and the Middle East, carrying
on the construction of modern art and architecture under the sign of displacement
and immigration. Brazil, a country whose modern art and architecture had been
internationally recognized during the war and afterward, received a considerable
number of these European immigrant artists and architects (Segawa, 1997; Falbel
and Segawa, 2006; Lanna, Peixoto, Lira, and Sampaio, 2011; Falbel, 2018).
As architectural historians Sarah Williams Goldhagen and Réjean Legault
(2000) have mapped, after World War II, some parts of the world elected themes to
guide artistic and architectural production, such as contextualism, primitivism, au-
thenticity, identity, the clash with mass culture, freedom, continuity of or the break
from modern architecture, and also the ‘Integration’ or ‘Synthesis of the Arts’.1
The latter faced the choice of modern architecture for walls free of ornaments and
works of art, supported by the values of rationality and economy, and the rework-
ing of discourses for monuments and monumentality, later claimed by the famous
1943 text by Swiss critic, Sigfried Giedion, French painter, Fernand Léger, and
Catalan architect, Josep Lluís Sert (Giedion, Leger, Sert [1943], 1984).
The importance of the ‘Synthesis of the Arts’ and ‘Monuments’ was evidenced
in several arenas after the war, including The Architectural Review magazine in
1948 (Paulsson et al., 1948), the International Congresses of Modern Architecture

DOI: 10.4324/9780367030964-1
2 Introduction

(CIAMs) in 1947 in Bridgewater, in 1949 in Bergamo, and in 1951 in Hoddesdon,

the projects for politically important buildings, such as those for the headquarters
of the United Nations in New York, opened in 1952, and for United Nations Educa-
tional, Scientific and Cultural Organization (UNESCO), in Paris, opened in 1958.
The ‘Synthesis of the Arts’ was a strong theme in France and Italy in reconstruc-
tion (Ockman, 2007; Golan, 2009; Pezolet, 2018), in England and the United States,
but also in Latin America, where the projects for the University City of Caracas
(1940–1960), the Central Library of the Universidad Nacional Autónoma de
­México (1956) and Brasília (1960) stood out. Still under construction, in 1959, the
Brazilian city was one of the hosts of the International Extraordinary Congress of
Art Critics, on the theme the ‘New City: Synthesis of the Arts’, revealing the lon-
gevity of this discussion and the role that Brazil gave it.
At the intersection of the immigration of professionals and the theme of the ‘Syn-
thesis of the Arts’, the subject of this book is found. It investigated a selection of
works by Italian artists and architects who immigrated to Brazil after World War II,
focusing on the relationship between art and architecture. From photographs, draw-
ings, paintings, objects, and architecture made between 1946 and 1991 – the year
some of them arrived in Brazil, and the year of their last works – the ideas of these
characters were reconstructed, and observations were made about the exchanges
between cultures and disciplines. The characters studied – architects Lina Bo Bardi
(1914–1992) and Giancarlo Palanti (1906–1977), and the artists Roberto Sambonet
(1924–1995) and Bramante Buffoni (1912–1989) – were not, and never claimed
to be, part of a group. They were from different generations, and their human and
artistic paths were marked by formation and involvement in the battles of mod-
ern, Italian art and architecture between the wars. They were also marked by the
condition of the expatriate, by friendship, and by projects they shared in the new
country. They were involved in the first activities and opportunities created by the
São Paulo Museum of Art (MASP), directed since its foundation by the journalist,
critic, and art dealer, Pietro Maria Bardi (1900–1999), the fifth character in this
book. This was an institution that assumed a place of cultural power, offering them
a privileged position in Brazilian cultural circles, notwithstanding clashes with lo-
cal groups. Although foreigners, all of these characters engaged in the construction
of a Brazilian art, an architecture, and a design, in a production marked by the
intertwining of artistic disciplines.
Other, younger Italian immigrants to Brazil in the post-war period, such as the
designer Carlo Hauner (Hugerth, 2015), or the artist, Waldemar Cordeiro ­(Medeiros,
2005), did not make the same effort to seek a Brazilian character for their artistic
output. On the contrary, Cordeiro, for example, criticized this proposal and pursued
an international art, aligned with the international avant-garde (Medeiros, 2005).
Research of a national character, however, was common to the culture of the
twentieth century in Italy and Brazil, carried out by the election of a past or singu-
larities on which to forge a synthesis between tradition and modernity. It was in this
sense that the cultural historian, Adrian Gorelik (2005) identified a constructive and
non-destructive character in the experience of the avant-garde in Latin America,
especially in the Brazilian case, and claimed for them a place in the development
 Introduction 3

of the global episode of modernism. In the case of Italy, architectural historians

Giorgio Ciucci and Francesco Dal Co (1993) draw attention to the trajectories com-
mitted to the return to order in the constitution of modern Italian design culture,
resulting, for them, in an architecture comparable with the experiments of the more
advanced Western countries. They opposed, in this way, a historiographical ten-
dency that favored futurism and its rupture from the past as origin and continuity
with Italian rationalism.
Goldhagen and Legault (2000) questioned some historiographical interpreta-
tions of the post-war period that saw it as a gap between decadent modernism and
the birth of post-modernism. Calling for a review of the architecture produced in
those years, they argued that there was then more renewal than abandonment of
principles, and the modern movement continued to be a central reference of archi-
tectural culture.
Hoping to contribute to this necessary review, this book focuses on the work
of these immigrants and raises questions about their nature and meaning, and
about the continuities of and ruptures from modern ideals, pre-war experience, and
immigration.
The sociocultural intertwining between Italy and Brazil was the subject of publi-
cations throughout the twentieth century, especially interested in the consequences
of massive Italian immigration to the Latin American country between the end of
the nineteenth century and the beginning of the twentieth century. Some of these
publications were promoted by commercial interests between the two countries, or
cultural associations and consulates, such as the first systematic study of the con-
tribution made by the Italians to the architecture of the city of São Paulo, by Anita
Salmoni and Emma Debenedetti, in 1953, later expanded and republished (Salmoni
and Debenedetti, 1953, 1981). In the early 1980s, Pietro2 himself put on a show on
the subject at MASP. In the catalog, he reproduced some findings from the book
by Salmoni and Debenedetti, but incorporated studies of popular architecture and
played down the role of the Italians in the formation of modern architecture in the
country (Bardi, 1981). At the same time, the book Arquitetura Contemporânea no
Brasil, by Frenchman Yves Bruand (1981), situated foreign architects (and not only
Italians) in São Paulo – among whom were Palanti and Lina – as supporters of the
rationalist school, with notable research in parallel to the Rio school represented
by Oscar Niemeyer. On the other hand, in 1983, the monumental História Geral da
Arte no Brasil came out, organized by the art critic Walter Zanini, in which the his-
torian of architecture, Carlos Lemos (1983), indicated an important role for these
foreign architects in the alteration of the conservative framework of São Paulo ar-
chitecture, and Julio Katinsky (1983) highlighted the contribution made by MASP
and, especially, Lina and Palanti in the field of design in the country.
The 1990s opened a new season of studies on the subject that included mono-
graphs on architects left in the shadow of great narratives, such as the Italian immi-
grant, Daniele Calabi (Avon, Zucconi, Calabi, & Padova, 1992), and an exhibition
in São Paulo held by the Consulate General of Italy, which, while focusing on the
first major immigration, dealt with the modern Italian immigrant architects in the
city (Giovannetti, 1994). At the time there was a congress on the subject at MASP,
4 Introduction

with talks that tried to situate the role of immigrants and highlighted the difficulties
of dealing with recent events.
In 1992, the historian of architecture, Renato Anelli, began investigations at the
University of São Paulo into little-known figures of modern Brazilian architecture,
to identify dialogues with Italian architecture in the formation of modern architec-
ture in São Paulo. He avoided the sense of a direct influence, or a line of modern
Italian architecture in Brazil (Anelli, 2001). As a member of his research group
and under his guidance, I developed my studies, starting from his interpretations,
and subsequently continuing at the Polytechnic of Milan, with a doctoral thesis
(Sanches Corato, 2012)3 supervised by Daniele Vitale.
Soon after, the relationship between the two countries was based in Italy, in
works that interpreted these experiences as dialogues between cultures (Segawa,
1997; Faroldi and Vettori, 1998) and was then discussed in arts and literature cir-
cles in Brazil (Wataghin, 2003).
Interest in the topic has recently been renewed. The historian of architecture,
Fernanda Fernandes da Silva (2011), dealt with works by Italian artists and archi-
tects who frequented MASP between 1946 and 1957, focusing on Pietro and Lina,
Palanti, and Buffoni, observing their intentions to confer ‘Brazilianness’ on their
work and their performance in fields paid less attention to then, such as furniture,
showcases, stands, posters, and signs. In 2016, art historian Paolo Rusconi, con-
trorelatore (co-examiner) of my doctoral thesis, organized a show at the Museo
delle Culture in Milan, presenting, in particular, work by artists Gastone Novelli
and Sambonet and, with less emphasis, documents on Lina, Pietro, and the Italian
critic, Margherita Sarfatti. Some Italian congresses and events also demonstrated
the current interest in the theme, although they were generally focused on the for-
mer large-scale immigration, with more attention on Latin America (Capocaccia,
Pittarello, and Rosso Del Brenna, 2016; Paltrinieri, 2018; Buzzar et al., 2021).
This book is part of these studies but offers discoveries from the research of
archive documents, some of it previously unpublished, and it seeks to clarify in-
terpretations of the experience. To this end, it presents new information about the
works and careers of less studied characters, such as Palanti4 and Buffoni,5 con-
tributes to recent efforts to reevaluate Pietro,6 and seeks to renew interest in the
work of Sambonet.7 Lina, now widely published,8 is distinguished by the obser-
vance of her career in parallel with the other immigrant characters and identifying
ideas shared with them, or otherwise. If, on the one hand, the subject has not been
exhausted, on the other hand, the point of view of the relations between art and
architecture is new to the understanding of works by this critic and these artists
and architects.
Evaluating the existing literature on immigrant architects in exile, Gaimard and
Maniaque (2018) observed how much of it is biographical. This book wants to
avoid this, and so is based on the art, architecture, and design work produced by the
chosen characters, believing that the works can illuminate the cultural exchanges
between Italy and Brazil.
The reason for the choice of each of them was their relevance to the discussion
of the relationship between art and architecture and between cultures. They were
 Introduction 5

evaluated by cross-referencing primary sources found in archives in the two coun-

tries, and secondary sources, focusing on identifying gaps in the narratives about
this case, and on the answers to the main questions of the work.
The works of art, design, and architecture, the material expression that remains
today in cities, private collections, and museums, were also discussed as documen-
tary sources and results of choices in which counted ideological, and political con-
structions, society’s values, sociocultural principles of technical and artistic work,
biographies, and exchanges, the cities themselves, and the hybridization of cultures.
This latter aspect was evaluated according to the approach of the Argentine anthro-
pologist, Nestor Garcia Canclini (2015), when dealing with the hybrid place from
which several Latin American artists create their work because it was from this par-
ticular place that most of the work analyzed was carried out. The works were also
observed from the perspective of Latin American conditions of the twentieth century,
identified by the Argentine critic, Beatriz Sarlo, as its marginal and peripheric place,
and the specific characteristics of countries such as Argentina, Mexico, and Brazil,
endowed with a complex cultural field, crossed by triumphant modernity, by the
great city and by the mixture of cultures (Sarlo, 2008; Blanco and Jackson, 2009).
The chosen works guided the organization of the book in four autonomous and
complementary chapters which highlight their distinctive contributions to modern
culture in Brazil and illuminate the relationships between cultures and disciplines,
avoiding the chronological narrative of the whole experience, or a monographic
chapter for each character. They address: Chapter 1: the context of immigration,
and the representations of Brazil produced by the characters, showing the clashes
and opening positions in relation to the local culture, in addition to their involve-
ment with a large number of expressions of art, from photography to architecture;
Chapter 2: graphic and object design, showing the ways as architects, artists, and
critics they were involved with these issues in Brazil, inspired by the ideas of ‘unity
of the arts’ and the museum as a school and place from which to construct Brazilian
design linked, in different ways, to popular bases; Chapter 3: interior design and
the design of exhibitions, which demonstrated the complex relationship between
works of art, design, and architecture, making the latter a stage for narratives about
the arts, design, the country, and its culture; Chapter 4: the house, the buildings and
its panels, the monument, and the city which, as places of life, were designed as
places for the arts, evoking ‘unity’, ‘integration’, ‘synthesis’, and the ‘total work
of art’ to broaden the promise of modern art and architecture as to their social
function.
With the works, I want to demonstrate how much these immigrant artists, archi-
tects, and critics mobilized not only the knowledge brought from Europe to act in
Brazil in modernization, illuminating a more complex framework of absorption, re-
jection, transformation, dispute, and negotiation with local ideas and possibilities,
in which the translation of forms and concepts and the hybridization of cultures
were at stake, not without contradictions, with results established within a strong
local cultural field. They also contradict the idea that they were cases, for architec-
ture, parallel to those of Brazilians (Bruand, 1981), as if there were no intertwin-
ing, that they had no importance or role in the construction of modern architecture
6 Introduction

in the country (Bardi, 1981), or that it was international architecture produced by

­Italians (Salmoni and Debenedetti 1981).
The relationship between art, design, and architecture in these works evidenced
the relationship between cultures and was realized in different ways but intertwined
with work by modern architects in São Paulo, Salvador and Rio de Janeiro. Explor-
ing the artifacts, I argue that these characters wanted to delve into the dilemmas
of Brazilian culture until they became part of it, each with their own path and with
different talents while building a recognizable experience with particular contribu-
tions to design, interior architecture, and expography, and for the design of build-
ings and cities that can be characterized as a laboratory of modern experimentation.
The works sought to expand the social function of art and architecture to fulfill the
promises of modernity, at that point that Canclini defined as his democratizing pro-
ject, confident in education and the diffusion of art and other knowledge to achieve
a rational and moral evolution (Canclini, 2015, p. 32).
Although strongly tied to the cultures of the cities in which they were born,
in the works analyzed nationality played an important role, distancing itself from
nationalism, and in dialogue with the debates of other artists and architects in both
countries. Finally, I argue that these immigrants, with greater or lesser strength, and
again with their contradictions, contributed to the complex construction of Brazil
as a nation, and the results of this experience, through the works, have become
pieces of the great mosaic of material expressions of modernity in the cities where
these works were born.

Notes
1 The importance of this theme in the post-war period was also highlighted in Tostões
et al. (2010) and Rykwert (2008).
2 I decided to refer to Pietro Maria Bardi and Lina Bo Bardi as Pietro and Lina throughout
the book to avoid any confusion over their shared surnames.
3 This book is a version of my PhD thesis in Polytechnic of Milan (Sanches Corato,
2012), deeply reviewed and expanded.
4 On Palanti’s career, see the following articles, chapters, and theses: Rocha (1991),
Sanches (2002, 2003), Sanches Corato (2004), Tiso (2009), Sanches Corato (2012,
2016a), Tagliaventi (2014), Medrano and Ohno (2015).
5 The articles and theses that addressed Buffoni’s career were Rinaldi (1999), Canas
(2010), Sanches Corato (2012, 2016a), Ruas (2014), and Freitas (2020).
6 About Pietro’s trajectory see the following books, chapters, articles, and theses: Mariani
(1989), Tentori (1990, 2000, 2002), Rusconi (2009, 2018, 2019), Pozzoli (2013, 2016),
Sanches Corato (2012, 2016a), Aguilar (2019), Esmeraldo (2020).
7 On Sambonet’s career, see the following books, articles, and theses: Quintavalle (1993),
Camesasca (2006, 2008), Morteo (2008), Sanches Corato (2012, 2016a), Iannello
(2016).
8 There is a thorough and growing bibliography of Lina’s work and life, including in
English, composed of books, articles, chapters, and theses of which mentioned here are
just some examples, such as Ferraz (1993), Miotto and Nicolini (1998), Gallo (2004),
Oliveira (2002, 2006), Pereira (2008), Rubino and Grinover (2009), Sánchez Llorens
(2010), Sanches Corato (2012, 2016a, 2016b), Lima (2013, 2021), Lepik and Bader
(2014), Bo Bardi and Veikos (2014), Criconia (2017), Bo Bardi and Sánchez Llorens
(2018), and Perrotta-Bosch (2021).
 Introduction 7

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Lima, Z. R. M. A (2021) Lina Bo Bardi: O que eu queria era ter história. São Paulo: Com-
panhia das Letras.
Mariani, R. (1989) Razionalismo e architettura moderna: storia di una polemica. Milano:
Edizioni di Comunità.
Medeiros, G. (2005) Artepaisagem: a partir de Waldemar Cordeiro (Doctoral thesis). The
School of Architecture and Urbanism, University of São Paulo, São Paulo. http://doi.
org/10.11606/T.16.2005.tde-11102022-100654
Medrano, R. H. and Ohno, C. E. (2015) Giancarlo Palanti. Una trayectoria de rupturas y
continuidades. In: Gutiérrez, R. A. (Ed.) Los Palanti. Su trayectoria en Italia, Argentina,
Uruguay y Brasil. Buenos Aires: Embajada Italia-Cedodal, pp. 153–162.
Miotto, L. and Nicolini, S. (1998) Lina Bo Bardi: Aprirsi all’accadimento. Torino: Testo &
Immagine.
 Introduction 9

Morteo, E. (Ed.) (2008) Roberto Sambonet, design, grafico, artista (1924–1995). Milano:
Officina Libraria.
Ockman, J. (2007) Plastic Epic: The Synthesis of the Arts Discourse in France in the
Mid-Twentieth Century. In: Pelkonen, E. and Laaksonen, E. (Eds.) Architecture and Art:
New Visions, New Strategies, pp. 30–61. Helsinki: Alvar Aalto Academy.
Oliveira, O. (2002) Lina Bo Bardi: obra construída. 2G, v. 23, n. 24.
Oliveira, O. (2006) The Architecture of Lina Bo Bardi: Subtle Substances. Barcelona:
Editorial Gustavo Gili.
Paltrinieri, A. C. (Ed.) (2018) Brasile-Italia: andata e ritorno. Storia, cultura, società. Con-
fronti interdisciplinari. Visioni LatinoAmericane. Supplement to n. 18.
Paulsson, G., Hitchcok, H., Holford, W., Giedion, S., Gropius, W., Costa, L. and Roth,
A. (1948) In search of a new monumentality. Architectural Review, v. 104, n. 621,
pp. 117–128.
Pereira, J. A. (2008) Lina Bo Bardi: Bahia, 1958–1964. Uberlândia: EDUFU.
Perrotta-Bosch, F. (2021) Lina: uma biografia. São Paulo: Todavia.
Pezolet, N. (2018) Reconstruction and the Synthesis of the Arts in France, 1944–1962. Studies
in Architecture Series. New York: Routledge.
Powers, A. (2019) Bauhaus goes west. Modern Art and Design in Britain and America.
New York: Thames and Hudson.
Pozzoli, V. (2013) 1946! Por que Pietro Maria Bardi decide deixar a Itália e partir para
o Brasil? In: International Seminar Modernidade Latina. Os Italianos e os Centros do
Modernismo Latino-americano. São Paulo: [n.p.], pp. 9–11. Available from: mac.usp.
br/mac/conteudo/academico/publicacoes/anais/modernidade/pdfs/VIVIAN_PORT.pdf
­[Accessed: 22 February 2023].
Pozzoli, V. (2016) Lo Studio d’Arte Palma: Storia di un’impresa per il commercio artistico
nell’Italia del dopoguerra. Acme, n. 2/2016, pp. 145–173.
Quintavalle, A. (Ed.) (1993) Roberto Sambonet. Milano: Federico Motta.
Rinaldi, M. (1999) Arte per l’architettura: Novelli in Brasile (1949–1954). In: Vivarelli, P.
Gastone Novelli, 1925–1968. Milano: Skira, pp. 31–39.
Rocha, A. M. (1991) Uma produção do espaço em São Paulo: Giancarlo Palanti (Master’s
thesis). The School of Architecture and Urbanism, University of São Paulo, São Paulo.
Ruas, I. (2014) Mosaicos na arquitetura dos anos 50: quatro artistas modernos em São Paulo.
São Paulo: Via das Artes.
Rubino, S. and Grinover M. (Eds.) (2009) Lina por escrito: textos escolhidos de Lina Bo
Bardi. São Paulo: Cosac & Naify.
Rusconi, P. (2009) Le riviste popolari illustrate di Rizzoli (1931–1934). Quaderni di Acme,
n. 115, pp. 527–573.
Rusconi, P. (2018) Pietro Maria Bardi. In: Celant, G. (Ed.) Post Zang Tumb Tuuum: art life
politics: Italia, 1918–1943. Milano: Fondazione Prada, pp. 172–173.
Rusconi, P. (2019) Invenção de um personagem: iconografia e sina de Pietro Maria Bardi
nos primeiros anos 1930. In: Aguilar, N. (Ed.) Pietro Maria Bardi. Construtor de um novo
paradigma cultural. Campinas: Editora Unicamp, pp. 25–46.
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versity of Chicago Press.
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tuto Cultural Italo-Brasileiro.
Salmoni, A. and Debenedetti, E. (1981) Arquitetura italiana em São Paulo. São Paulo:
Perspectiva.
10 Introduction

Sanches, A. C. (2002) A obra de Giancarlo Palanti em São Paulo. Arquitextos, n. 031.01.

Available from: vitruvius.com.br/revistas/read/arquitextos/03.031/722 [Accessed:
12 June 2023].
Sanches, A. C. (2003) A Obra de Giancarlo Palanti no Brasil. Anais 5° Seminário Doco-
momo Brasil, Docomomo, São Carlos.
Sanches Corato, A. C. (2004) A obra e a trajetória do arquiteto Giancarlo Palanti. Itália e
Brasil (Master’s thesis). São Carlos School of Engineering, University of São Paulo, São
Carlos. Available from: teses.usp.br/teses/disponiveis/18/18131/tde-24062008-100259/
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Sanches Corato, A. C. (2016a) Além do ‘silêncio de um oceano’. Ideias de Brasil nas rep-
resentações de um crítico e de artistas e arquitetos italianos depois da Segunda Guerra
Mundial. Anais Do Museu Paulista: História E Cultura Material, v. 24, n. 2, pp. 187–215.
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Sanches Corato, A. C. (2016b) Exhibiting and demonstrating through architecture: two case
studies of an experience between Italy and Brazil. In: Dufrene, B. and Glicenstein, J.
(Eds.) Histoire(s) d’exposition(s), Exhibitions Stories. Paris: Hermann, pp. 103–117.
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thesis) E.T.S. Arquitectura (UPM), Madrid. http://doi.org/10.20868/UPM.thesis.65736
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Segawa, H. M. (1997) Le belle Americhe/Americas the beautiful. Spazio e Società, n.80,
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­construção das cidades. São Paulo: Alameda, pp. 497–520.
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Milano: Mazzotta.
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Paulo: Instituto Lina Bo e P.M. Bardi, Imesp.
Tentori, F. (2002) Pietro Maria Bardi. Primo attore del razionalismo. Torino: Testo &
Immagine.
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IUAV University of Venice, Venezia.
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Wataghin, L. (Ed). (2003) Vanguardas: Brasil & Itália. Cotia: Ateliê Editorial.
1 Ideas from Brazil
A Promised Land below the Equator1

The promised land of modern architecture and art

The idea of the Americas as a ‘promised land’, built from when its territory was
seized, featured in art and, in particular, architecture in the twentieth century. It
accompanied myths about a paradise free of the past where cities, art and archi-
tecture could be created, where another Europe could be built. Within this, the
notion of Latin America as a space where the ideals of modern art and, especially,
modern architecture could be produced, was the expression of a complex theme
that, between the wars and, above all, after the Second World War, was present in
the European, North, and Latin American worlds. Modern Brazilian architecture
played an important role and in various ways shared and fueled this promise.
Proof of this were the words of European protagonists such as Le Corbusier who,
in 1930s Précisions, recounted his experience in South America with words full
of promise2:

I tried to conquer America because of a relentless drive and a great tender-

ness that I dedicated to things and people; I understood, among these broth-
ers separated from us by the silence of an ocean, the existence of scruples,
doubts, hesitations, and the reasons that motivate the current state of their
manifestations, and I trusted in tomorrow. Architecture will be born under
such a light.
(Corbusier [1930], 2004, pp. 30–31)

This prophetic image was reproposed in 1957 by the Italian architect, Gio Ponti,
speaking of Venezuela and Brazil:

Here, in the happiness of the tropics, modern architecture will flourish, in

perfect condition for this: elsewhere architecture is a complicated shelter,
an unprotected den off the earth: here the architect is a protective wing un-
der which to live in an Earthly Paradise. Venezuela, Brazil: places of happy
architecture.
(Ponti [1957], 2010, p. 233)

DOI: 10.4324/9780367030964-2
12 Ideas from Brazil

Other protagonists of the then hegemonic architecture, such as the Secretary Gen-
eral of the International Congresses of Modern Architecture (CIAM), the Swiss,
Sigfried Giedion, acclaimed Brazilian architecture (Giedion, 1952, [1956] 1999,
1958), and Finnish and Swedish, and envisioned in them an alternative to the crisis
that had manifested itself.
During the war, Brazilian art also gained the spotlight from Western hegemonic
culture: in 1940, there was an exhibition about the painter Candido Portinari at the
New York Museum of Art (MOMA), anticipating the exhibition on the architecture
of the country in 1942, under the ‘good neighbor policy’ of the United States that
sought to ensure US influence in Latin America.3
After the war, while Brazilian cultural output grew, the entire continent wel-
comed European architects and artists, immigrants who saw there the promise of
work and wealth as Europe was in crisis, a place to achieve their own ideals of
modern life, architecture and art, a place to find the other and themselves. Among
them were the characters in this book: the gallerist, journalist, and art critic Pietro
Maria Bardi, the architects Lina Bo Bardi and Giancarlo Palanti, and the artists
Roberto Sambonet and Bramante Buffoni – Italians who went to Brazil between
1946 and 1953.
At that moment of re-democratization of the country, different cultural man-
ifestations sought to participate in the construction of the nation. As is known,
nationality and nationalism contributed to moving, to a greater or lesser extent,
the production of art and architecture in modernity, since the ideology of the na-
tion state took shape. The historian Benedict Anderson (2008) explained the con-
struction of nation states as an imagined political community, and recalled, in this
sense, how the members of these communities will never know most of their com-
panions, although they firmly understood the communion between them, and how
much the nation was able to mobilize, by something imagined – in the sense of
invented – feelings by which one could lose one’s life, but also create art. Since the
early independence of the states of the American continent, developing concep-
tions about their national condition, and the eruption of the French Revolution, the
nation has been a conscious aspiration, nationality a constituent part of modernity,
and a universal sociocultural concept. When nations were created, explained An-
derson, they were perceived as a rupture, and something new. However, European
nations, justifying a wake-up call, soon began a process of ‘rediscovery’ of some-
thing they believed had always been known, a resource used since then in the ‘old’
and the ‘new world’ to align continuity with the past, inventing plots for the nation.
In various ways, the cultural fruits of nationality or nationalism participated in this
process.
Brazil and Italy were constituted as independent, unified countries with liberal
institutions in the nineteenth century. Nation-building was, then, a participatory
theme of unequal art and architecture formulations in the two new countries, full
of dilemmas about where to found their discourses and forms, in a shifting field of
choices and forgetfulness. In both cases, the concepts of nation, identity and peo-
ple, and the use of history, dear to Romanticism, advanced in various ways in the
twentieth century as themes of modern art and architecture, despite the voluntarily
Another random document with
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French Beans à la Française 321
(Entremets)
An excellent receipt for French 322
Beans à la Française
To boil Windsor Beans 322
Dressed Cucumbers 322
Mandrang, or Mandram (West 323
Indian receipt)
Another receipt for Mandram 323
Dressed Cucumbers (Author’s 323
receipt)
Stewed Cucumbers (English 323
mode)
Cucumbers à la Poulette 324
Cucumbers à la Créme 324
Fried Cucumbers, to serve in 324
common hashes and minces
Melon 325
To boil Cauliflowers 325
Cauliflowers (French receipt) 325
Cauliflowers with Parmesan 325
Cheese
Cauliflowers à la Française 326
Brocoli 326
To boil Artichokes 326
Artichokes en Salade (see
Chapter VI.)
Vegetable Marrow 327
Roast Tomatas (to serve with 327
roast Mutton)
Stewed Tomatas 327
Forced Tomatas (English 327
receipt)
Forced Tomatas (French 328
receipt)
Purée of Tomatas 328
To boil Green Indian Corn 329
Mushrooms au Beurre 329
Potted Mushrooms 330
Mushroom-Toast, or Croule 330
aux Champignons (excellent)
Truffles, and their uses 331
Truffles à la Serviette 331
Truffles à l’Italienne 331
To prepare Truffles for use 332
To boil Sprouts, Cabbages, 332
Savoys, Lettuces, or Endive
Stewed Cabbage 333
To boil Turnips 333
To mash Turnips 333
Turnips in white Sauce 334
(Entremets)
Turnips stewed in Butter (good) 334
Turnips in Gravy 335
To boil Carrots 335
Carrots (the Windsor receipt) 335
(Entremets)
Sweet Carrots (Entremets) 336
Mashed (or Buttered) Carrots 336
(a Dutch receipt)
Carrots au Beurre, or Buttered 336
Carrots (French receipt)
Carrots in their own Juice (a 337
simple but excellent receipt)
To boil Parsneps 337
Fried Parsneps 337
Jerusalem Artichokes 337
To fry Jerusalem Artichokes 338
(Entremets)
Jerusalem Artichokes à la 338
Reine
Mashed Jerusalem Artichokes 338
Haricots Blancs 338
To boil Beet-Root 339
To bake Beet-Root 339
Stewed Beet-Root 340
To stew Red Cabbage (Flemish 340
receipt)
Brussels Sprouts 340
Salsify 341
Fried Salsify (Entremets) 341
Boiled Celery 341
Stewed Celery 341
Stewed Onions 342
Stewed Chestnuts 342
CHAPTER XVIII.
 PASTRY.

Page

Introductory remarks 344

To glaze or ice Pastry 345
Feuilletage, or fine French Puff 345
Paste
Very good light Paste 346
English Puff Paste 346
Cream Crust (very good) 347
(Author’s receipt)
Pâte Brisée (or French Crust 347
for hot or cold Meat Pies)
Flead Crust 347
Common Suet-Crust for Pies 348
Very superior Suet-Crust 348
Very rich short Crust for Tarts 349
Excellent short Crust for Sweet 349
Pastry
Bricche Paste 349
Modern Potato Pasty, an 350
excellent family dish
Casserole of Rice 351
A good common English Game 352
Pie
Modern Chicken Pie 353
A common Chicken Pie 353
Pigeon Pie 354
Beef-steak Pie 354
Common Mutton Pie 355
A good Mutton Pie 355
Raised Pies 356
A Vol-au-Vent (Entrée) 357
A Vol-au-Vent of Fruit 358
(Entremets)
A Vol-au-Vent à la Créme 358
(Entremets)
Oyster Patties (Entrée) 359
Common Lobster Patties 359
Superlative Lobster Patties 359
(Author’s receipt)
Good Chicken Patties (Entrée) 359
Patties à la Pontife, a fast-day 360
or maigre dish (Entrée)
Excellent Meat Rolls 360
Small Vols-au-Vents, or Patty- 361
cases
Another receipt for Tartlets 361
A Sefton, or Veal Custard 362
Apple Cake, or German Tart 362
Tourte Meringuée, or Tart with 363
royal icing
A good Apple Tart 363
Tart of very young green 364
Apples (good)
Barberry Tart 364
The Lady’s Tourte, and 364
Christmas Tourte à la
Châtelaine
Genoises à la Reine, or her 366
Majesty’s Pastry
Almond Paste 367
Tartlets of Almond Paste 367
Fairy Fancies (Fantaisies des 368
Fées)
Mincemeat (Author’s receipt) 368
Superlative Mincemeat 369
Mince Pies (Entremets) 369
Mince Pies Royal (Entremets) 370
The Monitor’s Tart, or Tourte à 370
la Judd
Pudding Pies (Entremets) 371
Pudding Pies (a commoner 371
kind)
Cocoa-Nut cheese-cakes 371
(Entremets) (Jamaica
receipt)
Common Lemon Tartlets 372
Madame Werner’s Rosenvik 372
cheese-cakes
Apfel Krapfen (German receipt) 373
Créme Pâtissière, or Pastry 373
Cream
Small Vols-au-Vent, à la 374
Parisienne (Entremets)
Pastry Sandwiches 374
Lemon Sandwiches 374
Fanchonnettes (Entremets) 374
Jelly-Tartlets, or Custards 375
Strawberry Tartlets (good) 375
Raspberry Puffs 375
Creamed Tartlets 375
Ramakins à l’Ude, or Sefton- 375
Fancies
 CHAPTER XIX.

SOUFFLÉS, OMLETS, ETC.

Page

Soufflés 377
Louise Franks’ Citron Soufflé 378
A Fondu, or Cheese Souffle 379
Observations on Omlets, 380
Fritters, &c.
A common Omlet 380
An Omlette Soufflé (second 381
course, remove of roast)
Plain Common Fritters 381
Pancakes 382
Fritters of Cake and Pudding 382
Mincemeat Fritters 383
Venetian Fritters (very good) 383
Rhubarb Fritters 383
Apple, Peach, Apricot, or 384
Orange Fritters
Brioche Fritters 384
Potato Fritters (Entremets) 384
Lemon Fritters (Entremets) 384
Cannelons (Entremets) 385
Cannelons of Brioche paste 385
(Entremets)
Croquettes of Rice (Entremets) 385
Finer Croquettes of Rice 386
(Entremets)
Savoury Croquettes of Rice 386
(Entrée)
Rissoles (Entrée) 387
Very savoury Rissoles (Entrée) 387
Small fried Bread Patties, or 387
Croustades of various kinds
Dresden Patties, or Croustades 387
(very delicate)
To prepare Beef Marrow for 388
frying Croustades, Savoury
Toasts, &c.
Small Croustades, or Bread 388
Patties, dressed in Marrow
(Author’s receipt)
Small Croustades, à la Bonne 389
Maman (the Grandmamma’s
Patties)
Curried Toasts with Anchovies 389
To fillet Anchovies 389
Savoury Toasts 390
To choose Macaroni, and other 390
Italian Pastes
To boil Macaroni 391
Ribbon Macaroni 391
Dressed Macaroni 392
Macaroni à la Reine 393
Semoulina and Polenta à 393
l’Italienne (Good) (To serve
instead of Macaroni)
 CHAPTER XX.

BOILED PUDDINGS.

Page

General Directions 395

To clean Currants for Puddings 397
or Cakes
To steam a Pudding in a 397
common stewpan or
saucepan
To mix Batter for Puddings 397
Suet Crust for Meat or Fruit 398
Pudding
Butter Crust for Puddings 398
Savoury Puddings 399
Beef-steak, or John Bull’s 399
Pudding
Small Beef-steak Pudding 400
Ruth Pinch’s Beef-steak 401
Pudding
Mutton Pudding 401
Partridge Pudding (very good) 401
A Peas Pudding (to serve with 401
Boiled Pork)
Wine-sauce for Sweet 402
Puddings
Common Wine-sauce 402
Punch-sauce for Sweet 402
Puddings
Clear arrow-root-sauce (with 403
receipt for Welcome Guest’s
Pudding)
A German Custard Pudding- 403
sauce
A delicious German Pudding- 403
sauce
Red Currant or Raspberry- 404
sauce (good)
Common Raspberry-sauce 404
Superior Fruit Sauces for 404
Sweet Puddings
Pine-apple Pudding-sauce 405
A very fine Pine-apple Sauce 405
or Syrup for Puddings, or
other Sweet Dishes
German Cherry-sauce 406
Common Batter Pudding 406
Another Batter Pudding 406
Black-cap Pudding 407
Batter Fruit Pudding 407
Kentish Suet Pudding 407
Another Suet Pudding 408
Apple, Currant, Cherry, or other 408
Fresh Fruit Pudding
A common Apple Pudding 409
Herodotus’ Pudding (A genuine 409
classical receipt)
The Publisher’s Pudding 410
Her Majesty’s Pudding 410
Common Custard Pudding 411
Prince Albert’s Pudding 411
German Pudding and Sauce 412
(very good)
The Welcome Guest’s own 412
Pudding (light and
wholesome. Author’s receipt)
Sir Edwin Landseer’s Pudding 412
A Cabinet Pudding 413
A very fine Cabinet Pudding 414
Snowdon Pudding (a genuine 414
receipt)
Very good Raisin Puddings 415
The Elegant Economist’s 415
Pudding
Pudding à la Scoones 416
Ingoldsby Christmas Puddings 416
Small and very light Plum 416
Pudding
Vegetable Plum Pudding 417
(cheap and good)
The Author’s Christmas 417
Pudding
A Kentish Well-Pudding 417
Rolled Pudding 418
A Bread Pudding 418
A Brown Bread Pudding 419
A good boiled Rice Pudding 419
Cheap Rice Pudding 420
Rice and Gooseberry Pudding 420
Fashionable Apple Dumplings 420
Orange Snow-balls 420
Apple Snow-balls 421
Light Currant Dumplings 421
Lemon Dumplings (light and 421
good)
Suffolk, or hard Dumplings 421
Norfolk Dumplings 421
Sweet boiled Patties (good) 422
Boiled Rice, to be served with 422
stewed Fruits, Preserves, or
Raspberry Vinegar
 CHAPTER XXI.

BAKED PUDDINGS.

Page

Introductory Remarks 423

A baked Plum Pudding en 424
Moule, or Moulded
The Printer’s Pudding 424
Almond Pudding 425
The Young Wife’s Pudding 425
(Author’s receipt)
The Good Daughter’s 426
Mincemeat Pudding
(Author’s receipt)
Mrs. Howitt’s Pudding (Author’s 426
receipt)
An excellent Lemon Pudding 426
Lemon Suet Pudding 427
Bakewell Pudding 427
Ratifia Pudding 427
The elegant Economist’s 428
Pudding
Rich Bread and Butter Pudding 428
A common Bread and Butter 429
Pudding
A good baked Bread Pudding 429
Another baked Bread Pudding 430
A good Semoulina or Soujee 430
Pudding
French Semoulina Pudding, or 430
Gâteau de Semoule
Saxe-Gotha Pudding, or Tourte 431
Baden Baden Puddings 431
Sutherland, or Castle Puddings 432
Madeleine Puddings (to be 432
served cold)
A good French Rice Pudding, 433
or Gâteau de Riz
A common Rice Pudding 433
Quite cheap Rice Pudding 434
Richer Rice Pudding 434
Rich Pudding Meringué 434
Good ground Rice Pudding 435
Common ground Rice Pudding 435
Green Gooseberry Pudding 435
Potato Pudding 436
A Richer Potato Pudding 436
A good Sponge-cake Pudding 436
Cake and Custard, and various 437
other inexpensive Puddings
Baked Apple Pudding, or 437
Custard
Dutch Custard, or Baked 438
Raspberry Pudding
Gabrielle’s Pudding, or sweet 438
Casserole of Rice
Vermicelli Pudding, with apples 439
or without, and Puddings of
Soujee and Semola
Rice à la Vathek, or Rice 440
 Pudding à la Vathek
(extremely good)
Good Yorkshire Pudding 440
Common Yorkshire Pudding 441
Normandy Pudding (good) 441
Common baked Raisin 441
Pudding
A richer baked Raisin Pudding 442
The Poor Author’s Pudding 442
Pudding à la Paysanne (cheap 442
and good)
The Curate’s Pudding 442
A light baked Batter Pudding 443
 CHAPTER XXII.

EGGS AND MILK.

Page

To preserve Eggs fresh for 444

many weeks
To cook Eggs in the shell 445
without boiling them (an
admirable receipt)
To boil Eggs in the shell 445
To dress the Eggs of the 446
Guinea Fowl and Bantam
To dress Turkeys’ Eggs 447
Forced Turkeys’ Eggs (or 447
Swans’), an excellent
entremets
To boil a Swan’s Egg hard 448
Swan’s Egg en Salade 448
To poach Eggs of different 449
kinds
Poached Eggs with Gravy 449
(Œufs Pochés au Jus.
Entremets.)
Œufs au Plat 450
Milk and Cream 450
Devonshire, or Clotted Cream 451
Du Lait a Madame 451
Curds and Whey 451
Devonshire Junket 452
 CHAPTER XXIII.

SWEET DISHES, OR ENTREMETS.

Page

To prepare Calf’s Feet Stock 453

To clarify Calf’s Feet Stock 454
To clarify Isinglass 454
Spinach Green, for colouring 455
Sweet Dishes,
Confectionary, or Soups
Prepared Apple or Quince 456
Juice
Cocoa-nut flavoured Milk (for 456
Sweet Dishes, &c.)
Remarks upon Compotes of 456
Fruit, or Fruit stewed in
Syrup
Compote of Rhubarb 457
—— of Green Currants 457
—— of Green Gooseberries 457
—— of Green Apricots 457
—— of Red Currants 457
—— of Raspberries 458
—— of Kentish or Flemish 458
Cherries
—— of Morella Cherries 458
—— of the green Magnum 458
Bonum, or Mogul Plum
—— of Damsons 458
—— of ripe Magnum Bonums, 458
or Mogul Plums
—— of the Shepherd’s and 458
other Bullaces
—— of Siberian Crabs 458
—— of Peaches 459
Another receipt for stewed 459
Peaches
Compote of Barberries for 459
Dessert
Black Caps, par excellence (for 460
the Second Course, or for
Dessert)
Gâteau de Pommes 460
Gâteau of mixed Fruits (good) 461
Calf’s Feet Jelly (entremets) 461
Another receipt for Calf’s Feet 462
Jelly
Modern varieties of Calf’s Feet 463
Jelly
Apple Calf’s Feet Jelly 464
Orange Calf’s Feet Jelly 464
(Author’s receipt)
Orange Isinglass Jelly 465
Very fine Orange Jelly (Sussex 465
Place receipt)
Oranges filled with Jelly 466
Lemon Calf’s Feet Jelly 467
Constantia Jelly 467
Rhubarb Isinglass Jelly 468
(Author’s original receipt)