Carnaval 

Editor: So, this is "Carnaval" by Candido Portinari, from 1960, created with acrylic paint on canvas. There's a festive chaos to it. It feels really layered. How do you interpret this work? Curator: The application of acrylics is vital to understanding Portinari’s intentions. Notice how he builds up the surfaces – impasto in some areas, thin washes in others. What does that say about his engagement with labor, with the very act of making this piece? Editor: It makes me think about the different levels of engagement, like he’s showing both the excitement of the performance and the labor that goes into putting it on. Is the almost frenetic feel of the brushwork important here? Curator: Exactly! Consider the social context, too. Portinari’s work often addresses the lives of everyday Brazilians. What implications does this have to think about access to art and visibility of laborers in culture? This carnival seems almost constructed; we can imagine the work and planning that goes into such an event. The red dunce caps could imply that even celebratory art sometimes reveals a certain sense of underlying disquiet or inequality. Editor: That's fascinating. I was only thinking about the surface of the image, the way it depicts the movement and energy. Curator: Precisely. Materiality informs content, which can reinforce the structures around both consumption of art and the production and performance this art evokes. Even the support he chooses–canvas–speaks volumes. He elevates genre-painting of the lives of everyday people to an art to be reckoned with. How does considering all this change how you view "Carnaval"? Editor: It gives the painting so much more depth. I see it as a really active commentary. Curator: Agreed. Looking at the means of production really enriches our understanding. It transforms a seemingly simple celebration into a multi-layered social narrative.