In this article, the writer Mário de Andrade discusses the photomontages of poet Jorge de Lima. In the opinion of de Andrade, photomontage can be considered a new medium for lyrical expression and an introduction to modern art. He thinks that those who produce photomontages are equipped to understand contemporary art movements, such as “Super-realism” [sic] and Cubism. The technique of juxtaposing images harvested from a wide range of sources sheds light on the creator’s instincts, repressed desires, culture, ideals, and personality. The article claims that photomontage should not be considered solely as an intrinsic aspect of “Super-realism;” it is unquestionably a form of art that uses light, like the movies, photography, and even pyrotechnics.  

This article refers to the first public exhibition of photomontages created by the poet, essayist, and translator Jorge de Lima. The author of the article, Mário de Andrade (1893–1945), was one of the most influential critics in Brazil. He was not a fan of Surrealism, which in his opinion, was a thoroughly French form of artistic expression that was therefore utterly inappropriate as a means of expressing Brazilian reality. This was so much the case that he translates the French term literally (Super = sur/réalisme). On the other hand, the article reveals his enthusiasm for collage. According to de Andrade, photomontage is not necessarily related to Surrealism, because as he explains, the French movement eschews any aesthetic ordering of elements, whereas photomontage exhibits compositional qualities, especially with regard to the use of light. 

Jorge de Lima (1895–1953) is mainly known for his literary work; however, he was also a painter, and a creator of photomontage. In 1943, de Lima published the photomontage album Pintura em pânico [Painting in Panic] that included an introduction by the writer and poet Murilo Mendes (1901–75). His collages are certainly unusual.   

Cf. on this matter, “Nota liminar” [Introductory Note] by Murilo Mendes, in Jorge de Lima Pintura em pânico (Rio de Janeiro: Tipografia luso-brasileira, 1943).