The sociologist Gilberto Freyre discusses the latest designs produced by the painter, and in this case, illustrator Vicente do Rego Monteiro, for the book about dance written by F. Divoire in Paris. In Freyre’s opinion, the artist here reveals his “yearning” for the greatest possible simplicity, which he achieves through the use of a “terribly simple line.” Freyre reflects on the “dashing” aspect of these works, referring to the artistic excesses (in both form and content) that appear to be the trademark of those who “produce creative, personal work.” He goes so far as to claim that in their search for authenticity, “true” artists of this kind actually establish “styles.”  

This article discusses the graphic work of the painter, book illustrator, and Amazon Indian art researcher Vicento do Rego Monteiro (1899–1970). This artist from Pernambuco actually illustrated several books, and as a result in the following decade, devoted himself full time to working with typography. The series he produced for the book by F. Divoire was one of his first illustration projects; his work subsequently developed and evolved over the course of his artistic career.  

This article by the sociologist, anthropologist, historian, writer, and journalist Gilberto [de Mello] Freyre (1900–87) was originally published in Revista do Norte (Recife, Pernambuco), a publication that was edited by José Maria de Albuquerque e Mello. This magazine was an important source of “modernist” ideas in the state of Pernambuco, particularly in terms of literary research. It appeared in three different series: the first of which, from 1923 to 1925, was a bimonthly publication. In 1927, a single issue was produced and duly sent to Manuel Bandeira (1884–1968), the poet from Pernambuco. The first issue of the third series was published in April 1942; the second issue appeared in December 1944; the third and fourth issues appeared in 1947, and the final issue was published in 1952. The circulation of the Revista do Norte varied from one issue to another, as did the graphic work, since a number of different artists, draftsmen, and technicians contributed to the magazine at one time or another, with varying results. The magazine enjoyed an active exchange with other “modernist” magazine in other parts of Brazil.