A Marchadeira das famílias bem pensantes: Flávio Império's painting between the maximum theatrical and the neutral theatrical

Abstract

This article starts from the painting A Marchadeira das famílias bem pensantes, done by Flávio Império in 1965, to examine how the artist criticizes the military dictatorship through his work. For this, it briefly returns to the term Pintura Nova, and its meanings within the partnership with Sérgio Ferro and Rodrigo Lefévre, as an instrument of knowledge of reality, molded from its elements. Then, it raises the comments of Flávio Motta and Mário Schemberg at the critical reception of the artist's work. And, finally, based on texts by Flávio Império himself about his activity as a scenographer, he brings painting closer to the notions of a mobile, neutral and theatrical maximum system, influenced by Anatol Rosenfeld's reading of Bertold Brecht. The objective is to bring the artist's reflections to the time by understanding his painting to elaborate on these issues, such as architecture and scenography.