Documents of Latin American and Latino Art

Geraldo Ferraz’s text describes the different phases of Lívio Abramo’s engraving, starting with the work he produced in 1933 (based on drawings he created between 1926?27). The type of “Expressionism” out of which those works emerged was [...]

To the art critic Geraldo Ferraz, Lívio Abramo’s artwork departs from a drawing that then gradually begins to give way to “expressionist manipulations” etched on “bad” wood. Towards the end of the thirties, Abramo, who was a journalist, [...]

The text by Brazilian author Alberto Da Costa e Silva for the exhibition “9 grabadores del Brasil” [Nine Engravers of Brazil] (Museo de Bellas Artes, Caracas, 1968) presents an expansive view of the history and evolution of engraving in the [...]

With a brief historical sketch of wood engraving, “the most authentic medium within the visual languages,” the author establishes connections between expressionist art —such as the Brücke [Bridges], Blaue Reiter [Blue Rider], and Sturm [Storm [...]

In this interview with Brazilian printmaker Lívio Abramo, art historian Vera d’Horta insists that the artist’s life story is essential in interpreting his fine and graphic artwork. Abramo speaks of his formative years in São Paulo, and explains [...]

The introduction in the catalogue for Lívio Abramo’s retrospective, written by Alcídio Mafra de Souza, suggests certain connections between the Brazilian artist’s graphic works and the German Expressionism led by two groups: Die Brücke [The [...]

The artist Lívio Abramo launches into his essay with some reminiscences about the time he spent with the journalist and writer Geraldo Ferraz when they both worked at the Diário da Noite, and about the illustrations he produced for Pelo [...]

The eleventh issue of Clima magazine features fourteen prints produced by Lívio Abramo between 1935 and 1942. The most outstanding of these works, Cabeça, Espanha, Bombardeio, and Raide heróico, are clearly based on both the Spanish Civil War [...]

In this nuanced essay, the artist Fayga Ostrower writes about the theoretical aspects of the prints produced by Lívio Abramo, the Brazilian engraver, especially with regard to the representation of psychological and biographical themes. [...]

The author considers the work of Lívio Abramo—along with that of Oswaldo Goeldi and Lasar Segall—responsible for bringing Brazilian printmaking into the realm of modern Brazilian art. Abramo’s work is discussed in terms of his early [...]

In this text, José Neistein presents artist Lívio Abramo as a virtuoso of wood engraving within the context of Brazilian art. Characterized with refinement and precision, in the author’s judgment, his work diverged from Expressionism in order to [...]

In order to emphasize the differences between the art life of the Brazilian printmakers Oswaldo Goeldi and that of Lívio Abramo, the writer focuses on Abramo. For Goeldi, time well spent took place on the beaches of South Rio (a tourist area) such [...]

In 1989, the Boletin no 1, published by the Museu da Gravura de Curitiba (sponsored by the Fundação Cultural de Curitiba), included this speech, entitled “O Pioneirismo da Gravura,” which the Brazilian printmaker Lí [...]

Starting his essay focused on drawing in the work of Lívio Abramo, Arnaldo Pedroso d’Horta deems this skill fundamental to the visual arts. In the writer’s opinion, Abramo’s daily drawings (reportorial, rather than personal) incorporate his [...]

This chapter by José Neistein examines the engraving of Lívio Abramo (1903?93), as seen in Brazil in the context of the work by other engravers such as Oswaldo Goeldi and Lasar Segall. Neistein identifies them as the pioneers of Brazilian engraving [...]

In his essay, critic Sérgio Milliet analyzes the painting taking place in São Paulo at the end of the 1930s, with an eye toward two exhibitions: the first, at the II Salão de Maio and the other, at the Salão do Sindicato dos Artistas Plásticos ( [...]