ABSTRACT
This article aims to investigate some of Alfredo Volpi’s artworks from the 1950s that dialogue in a paradoxical way with Brazilian paintings at that time. This set of Volpi’s concrete artwork ciphers, in their compositions, tensions that occurred at different levels of that precarious modernization process, and seems to present, with cunning, the limits of a certain mythical rationality that traversed the late Brazilian constructive modern art.
KEYWORDS:
Brazilian constructive art; Alfredo Volpi; Brazilian painting; art and society; Brazilian modern art
