The works presented here are certainly representative of a style, an artistic project, and an era. But they are also elements which compose Adolpho Leirner’s house, as well as Fulvia’s, part of their everyday life, in accordance with the aesthetic precept they espoused. This matchless collection, without equivalents even in the collections of Brazilian museums, therefore documents the way in which the project of “total art” was interpreted and materialized in Brazil. This is a less canonic facet of Brazilian modernism, and for this very reason
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