Self-Portrait

"[This Self-Portrait] is of a real place and reveals the influence of the Guignard school. Iberê’s features and the local landscape are caught up in the ‘nationalist lyricism’ so dear to Guignard and speak of the quintessential Brazilianness of the sitter. Landscapes, figures and interior scenes from those years also reveal Iberê’s interest in defining the features of a national identity. The issue, a major subject in the cultural debates of the Modern Art Week (1922) lasted over time until the second phase of modernization which came with the generation of the 1930s."
María José Herrera, Iberê Camargo: um ensaio visual (Porto Alegre: Fundação Iberê Camargo, 2009), 99.