Porto de Mônaco 1926

Curator: Before us is Anita Malfatti's 1926 oil painting, "Porto de Mônaco." Editor: There's a certain stillness to this. It's representational, yet the forms are simplified almost to abstraction. The texture of the paint is very noticeable. Curator: Absolutely. Malfatti’s engagement with oil paint is key. It seems applied almost sculpturally in some areas, look especially at the foreground. Her post-impressionistic style prioritizes surface texture. I'm curious how she chose such muted colours for a harbor known for its vibrancy, do you have thoughts? Editor: Possibly commentary? Malfatti made this painting at a turning point in her career when she was reckoning with how to position herself after a period of modernist experimentation. I am particularly intrigued by the social aspect in it; there are several workers transporting materials on the foreground beach, and this perspective encourages considering how everyday activity intersects with leisurely travel. How does Malfatti situate Brazilian identity in the context of this traditionally European landscape, in your opinion? Curator: A potent question. Thinking of the materiality and production, Brazil during this period was navigating its own industrial emergence and its relationship with global economic systems. Selecting such a location becomes especially resonant given the materials shipped in from abroad. I see it as not so much situating identity, but interrogating production lines and labour, even. Editor: An intriguing position to take in regards to the imagery of nation. Curator: I agree. Her landscapes were arenas to try modern strategies of form. It may well say less about location, and more about challenging academic conventions within Brazil. Editor: Perhaps the harbour setting allowed her to investigate themes related to movement, travel, and international exchange during the early 20th century. This perspective sheds new light. Curator: Yes, a beautiful fusion of modernist technique with underlying context.