“These early paintings stand out in the still rarefied artistic climate of Rio Grande do Sul. They disturb the current idea of painting in the local art community. The painter’s own experience overcomes any influence of cosmopolitanism or artistic models, saying that the works should be based on his particular understanding of the world as ‘an ardent defender of the freedom and independence of the artist’. His simple everyday landscapes on poor supports question the calm artistic conventions of the south of the country, still fascinated by the seductive artistic incursions of European impressionism: ‘Rio Grande do Sul society in the 1940s had effectively no conditions for accepting the degree of innovation planned by a few [...]’, says Marilene Pieta.”
Mônica Zielinsky, "A inquietude da arte," in Mônica Zielinsky, Paulo Sergio Duarte and Sônia Salztein, Moderno no limite (Porto Alegre: Fundação Iberê Camargo, 2008), 118.