ABSTRACT
This paper aims to trace out Mário Pedrosa’s path through concepts since his beginnings of authentic perplexity on to the position which would single him out, that in favor of constructivist abstract art. To the latter he attributed, by way of “Physiognomic primary form”, the mission of dissolving all antagonistic forms of human knowledge and to lead modernity back to original forms of sociability. This millenarian bent of his knew setbacks since the 1950s when informal art and abstract expressionism brock upon the scene. Nonetheless Pedrosa found productions that he thought to work in the real space of life, such as Brazilian architecture and neoconcretist artists Oiticica and Clarck. In his last writings in the 1970s, Pedrosa still upheld his millenarian view of art on the basis of the same authors he cherished from the outset.
Keywords:
art criticism in Brazil; autonomous art in Brazil; abstract art in Brazil; concrete art; neo-concrete art