This memorandum, addressed to Antônio Balbino, the Brazilian Minister of Education and Culture, was signed by hundreds of artists who demanded radical changes in the political decisions that restricted the import of ink, pigments, paper, and printed material from other countries. In their opinion, the prohibition of such items (which are essential to the working artist) was “a serious attack on the livelihood of artists, whose work is a major concern in terms of the country’s legacy.” The letter cites several unfulfilled promises made by President Getúlio Vargas, who had agreed to take care of “this lamentable situation” and ensure that such materials remained exempt. The artists therefore urged Balbino to visit the “solemn” installation at the third Salão Nacional de Arte Moderna, where every single exhibited work was made in black and white. The letter ends by calling all artists to join the protest, reminding them that the success of this undertaking would dramatically affect other problems faced by Brazilian artists.  

The Salão Nacional de Arte Moderna was presented for the first time in 1952 in the wake of the División Moderna (Modern Division) at the Salão Nacional de Belas Artes. The third edition, which came to be known as the Salão Preto e Branco (Black-and-White Salon), opened on May 15, 1954. Participating artists protested against the poor quality of available art materials (mainly substitutes for imported products) due to import restrictions imposed by the Brazilian government. Led by Iberê Camargo, Milton Dacosta, and Djanira, six hundred artists from all over the country signed a manifesto addressed to the Ministério da Educação e Saúde (MES), the Ministry of Education and Health in the Getúlio Vargas administration, objecting to any restrictions on the import of paint, items used for printmaking and sculpture, paper, and other basic materials [see, in the ICAA digital archive: (doc. no. 1307648)]. Well-known artists such as Lasar Segall, Ivan Serpa, Alfredo Volpi, and Di Cavalcanti, as well as actors, art gallery owners, professors, curators, and critics also signed the document in a gesture of solidarity.  

This document, dated April 1954, appears in the book A Arte e seus materiais: Salão Preto e Branco, 3º Salão Nacional de Arte Moderna, 1954 (Art and its Materials: Black and White Salon, Third National Modern Art Salon, 1954), published on the occasion of the 1985 exhibition at the Galería Especial del Salão Nacional de Artes Plásticas. According to the book, the situation recalled the famous Black-and-White Salon in 1954 where works by Camargo, Aluísio Carvão, Anna Letycia, Aldo Bonadei, Ivan Serpa, Lygia Clark, Maria Helena Andrés, Maria Leontina, Tarsila do Amaral, Ubi Bava, and many others were shown. The publication includes primary and secondary sources that refer to the 1954 exhibition, as well as interviews with contemporary artists and critics.

[For complementary reading on the subject of the Salão Preto e Branco (Black-and-White Salon), see: “Mensagem do Ministro da Educação e Cultura ao artistas” (doc. no. 1307663); “Entrevista com Djanira no programa clube da crítica” (doc. no. 1307678) by Pascoal Longo; “Depoimentos: Aluisio Carvão” (doc. no. 1307694) and “Depoimentos: Ferreira Gullar” (doc. no. 1307732) by Glória Ferreira and Luiza Interlenghi; “A greve das cores,” by Glória Ferreira (doc. no. 1307631); “O Salão Preto e Branco” (doc. no. 1307599) by Paulo Herkenhoff; the five following testimonials conducted by Luiza Interlenghi: “Depoimentos: Décio Vieira” (doc. no. 1307712); “Depoimentos: Ione Saldanha” (doc. no. 1307774); “Depoimentos: José Silveira D’Ávila” (doc. no. 1307791); “Depoimentos: Sérgio Camargo” (doc. no. 1307831); “Depoimentos: Ubi Bava” (doc. no. 1307851); and “Depoimentos: Iberê Camargo” (doc. no. 1307754) by Evelyn Yoschpe.]