{"id":152509,"date":"2021-05-21T09:00:08","date_gmt":"2021-05-21T13:00:08","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=152509"},"modified":"2021-05-21T10:35:40","modified_gmt":"2021-05-21T14:35:40","slug":"the-amateur-photographers-of-midcentury-sao-paulo","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/05\/21\/the-amateur-photographers-of-midcentury-sao-paulo\/","title":{"rendered":"The Amateur Photographers of Midcentury S\u00e3o Paulo"},"content":{"rendered":"<p><em>Outside of Brazil, the achievements of the S\u00e3o Paulo\u2013based amateur photography group Foto-Cine Clube Bandeirante have long been overlooked. Its ranks included biologists, accountants, lawyers, journalists, and engineers, all of whom were united in their passion for the art form. To encourage innovation, the club held monthly contests, which often resulted in photos that look unreal from today\u2019s vantage point: crisp shadows of circus goers roosting on bleachers, nightmarish skyscrapers slurring across the frame, pedestrians wandering among the streetcar rails like planets locked in lonely orbit. Presenting the group\u2019s work for the first time internationally, \u201c<a href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5245\" target=\"_blank\" rel=\"noopener noreferrer\">Fotoclubismo<\/a>\u201d will be on view at the Museum of Modern Art through September 26. A selection of images from the show appears below.<\/em><\/p>\n<div id=\"attachment_152487\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/carneiro_278.2016-2000x1493.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152487\" class=\"wp-image-152487 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/carneiro_278.2016-2000x1493.jpg\" alt=\"\" width=\"1000\" height=\"747\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/carneiro_278.2016-2000x1493.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/carneiro_278.2016-2000x1493-300x224.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/carneiro_278.2016-2000x1493-768x574.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152487\" class=\"wp-caption-text\">Andr\u00e9 Carneiro, <em>Rails (Trilhos)<\/em>, 1951, gelatin silver print, 11 5\/8 \u00d7 15 5\/8&#8243;. The Museum of Modern Art, New York. Acquired through the generosity of Jos\u00e9 Olympio da Veiga Pereira through the Latin American and Caribbean Fund. \u00a9 2020 Estate of Andr\u00e9 Carneiro.<\/p><\/div>\n<p>&nbsp;<\/p>\n<p><div id=\"attachment_152486\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152486\" class=\"size-full wp-image-152486\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000.jpg\" alt=\"\" width=\"1000\" height=\"1096\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000-274x300.jpg 274w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000-768x842.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/farkas_111.2014-1824x2000-934x1024.jpg 934w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152486\" class=\"wp-caption-text\">Thomaz Farkas, <em>Ministry of Education (Minist\u00e9rio da Educa\u00e7\u00e3o)<\/em> [Rio de Janeiro], ca. 1945, gelatin silver print, 12 7\/8 \u00d7 11 3\/4&#8243;. The Museum of Modern Art, New York. Gift of the artist.<\/p><\/div><!--more--><\/p>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152481\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/agostinelli_274.2016-2000x1517.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152481\" class=\"size-full wp-image-152481\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/agostinelli_274.2016-2000x1517.jpg\" alt=\"\" width=\"1000\" height=\"759\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/agostinelli_274.2016-2000x1517.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/agostinelli_274.2016-2000x1517-300x228.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/agostinelli_274.2016-2000x1517-768x583.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152481\" class=\"wp-caption-text\">Julio Agostinelli, <em>Circus (Circense)<\/em>, 1951, gelatin silver print, 11 1\/2 \u00d7 15&#8243;. The Museum of Modern Art, New York. Acquired through the generosity of Richard O. Rieger. \u00a9 2020 Estate of Julio Agostinelli.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152485\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152485\" class=\"size-full wp-image-152485\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000.jpg\" alt=\"\" width=\"1000\" height=\"1392\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000-216x300.jpg 216w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000-768x1069.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/giro_460.2019-1437x2000-736x1024.jpg 736w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152485\" class=\"wp-caption-text\">Palmira Puig-Gir\u00f3, <em>Untitled<\/em>, ca. 1960, gelatin silver print, 15 3\/8 \u00d7 11 1\/8&#8243;. The Museum of Modern Art, New York. Agnes Rindge Claflin Fund. \u00a9 2020 Estate of Palmira Puig-Gir\u00f3.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152484\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/lima_281.2016-2000x1502.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152484\" class=\"size-full wp-image-152484\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/lima_281.2016-2000x1502.jpg\" alt=\"\" width=\"1000\" height=\"751\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/lima_281.2016-2000x1502.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/lima_281.2016-2000x1502-300x225.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/lima_281.2016-2000x1502-768x577.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152484\" class=\"wp-caption-text\">Aldo Augusto de Souza Lima, <em>Vertigo (Vertigem)<\/em>, 1949, gelatin silver print, 11 \u00d7 14 3\/4&#8243;. The Museum of Modern Art, New York. Acquired through the generosity of James and Ysabella Gara in honor of Donald H. Elliott. \u00a9 2020 Estate of Aldo Augusto de Souza Lima.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152482\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152482\" class=\"size-full wp-image-152482\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019.jpg\" alt=\"\" width=\"1000\" height=\"1046\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019-287x300.jpg 287w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019-768x803.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/cruz_671.2019-979x1024.jpg 979w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152482\" class=\"wp-caption-text\">Maria Helena Valente da Cruz, <em>The Broken Glass (O vidro partido)<\/em>, ca. 1952, gelatin silver print, 11 7\/8 \u00d7 11 1\/2&#8243;. The Museum of Modern Art, New York. Acquired through the generosity of Donna Redel. \u00a9 2020 Estate of Maria Helena Valente da Cruz.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152488\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/debarros_251.2005-2000x1493.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152488\" class=\"size-full wp-image-152488\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/debarros_251.2005-2000x1493.jpg\" alt=\"\" width=\"1000\" height=\"747\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/debarros_251.2005-2000x1493.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/debarros_251.2005-2000x1493-300x224.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/debarros_251.2005-2000x1493-768x574.jpg 768w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152488\" class=\"wp-caption-text\">Geraldo de Barros, <em>Fotoforma<\/em>, 1952\u201353, gelatin silver print, 11 7\/8 \u00d7 15 1\/8&#8243;. The Museum of Modern Art, New York. Acquired through the generosity of John and Lisa Pritzker. \u00a9 2020 Arquivo Geraldo de Barros. Courtesy Luciana Brito Galeria.<\/p><\/div>\n<p>&nbsp;<\/p>\n<div id=\"attachment_152483\" style=\"width: 1010px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-152483\" class=\"size-full wp-image-152483\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000.jpg\" alt=\"\" width=\"1000\" height=\"1240\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000.jpg 1000w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000-242x300.jpg 242w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000-768x952.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/05\/yoshida_ch2021.10653-1613x2000-826x1024.jpg 826w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-152483\" class=\"wp-caption-text\">Roberto Yoshida, <em>Skyscrapers (Arranha-c\u00e9us)<\/em>, 1959, gelatin silver print, 14 5\/8 \u00d7 11 5\/8&#8243;. Collection Fernanda Feitosa and Heitor Martins. \u00a9 2020 Estate of Roberto Yoshida.<\/p><\/div>\n<p>&nbsp;<\/p>\n<p><em>\u201c<a href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5245\" target=\"_blank\" rel=\"noopener noreferrer\">Fotoclubismo<\/a>\u201d will be on view at the Museum of Modern Art through September 26.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"<p>A new show at the Museum of Modern Art showcases the work of Foto-Cine Clube Bandeirante, an influential group of photographers in midcentury S\u00e3o Paulo.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[67827],"class_list":["post-152509","post","type-post","status-publish","format-standard","hentry","category-look","tag-featured"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 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