Abstract
The art critic Mário Pedrosa stood out between the late 1940s and the early 1950s by contributing to the formation of a concrete art core in Rio de Janeiro, together with the artist and professor Ivan Serpa. While Ivan Serpa brought these artists together in his painting classes, debating artworks presented there, Pedrosa made his home a place to present the ideas he was developing in his thesis on the perception of form in artwork. The aim of this work is to analyze the role of Pedrosa in the construction of an artistic project, in relation to that played by Serpa, acting as a mediator on several levels: presenting the new artists to the public as a critic, and acting as a "theoretical" within a group of artists.
Keywords:
Mario Pedrosa; Art criticism; Ivan Serpa; Concrete art; Mediation
