Volume III, issue 4October 2008                                           ISSN 1981-030X



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The desire to amplify the references available in 19&20 is one of the most notable in the configuration of the present edition of October. In contrast to the deliberate restrictions of the previous number, which was centered at the works and the actions of artists, in special of painters – an outline, as we insisted to show, traditionally dear to our historiography of art and not absent from the present number -, the set of works assembled this time sketches the contours of a much more diversified nineteenth and twentieth century visual culture, in which the individualized figure of the artist has, sometimes, a relatively discreet prominence and the most diverse artistic manifestations – as the fashion, the photography or the decorative arts – maintain a role so important as that which the so-called ‘fine arts’ have. An amplification of the references is equally perceptible in the space of time encompassed by the articles of the present edition, lightly larger than those of the previous editions, going since the period of King João VI up to the New State, with the affirmation of tendencies openly linked to the Modernism of the twentieth century.
The initiative to make available in translations to foreign languages the present edition of 19&20 and some of its articles can be understood as an analogous desire for amplification, although of diverse sense. That undertaking has only begun here, but, helped by the flexibility of the electronic media, we intend to amplify it progressively, even by making available the translated versions of previous editions and articles. Our intention is to amplify the visibility of academic works that deals with Brazilian art to an international public. We believe that, especially to the foreign researchers that deal with the art of their countries from the period delimited in our publication, the Brazilian artistic production will be of interest for the richness of creative and singular examples of re-signification of the aesthetic currents, genres and models that came from other latitudes. It is important to highlight, equally, that if Brazilian art, in the process of constitution of its own imaginary and ways-of-doing, has absorbed foreign aesthetic tendencies, it played, in compensation, an active role in the legitimization of the latter ones, a non-negligible fact to all those who are interested in a better understanding of the process of configuration of the artistic field in other countries where these tendencies invigorated.
Camila Dazzi
Arthur Valle