The phenomenon of the photo-club movement in Brazil has been the subject of several studies over the past few years. When it comes to studies about the movement in São Paulo, the focus is, generally, on the onset of a modern language thank the experimentalism of FCCB representatives and the learning and creation process characteristic of the photo-club scene, which occurred through the observation of the production exhibited in the salons and through participation in internal competitions and photography trips.
This production has received great attention by the artistic circle, which has held exhibitions – both collective and individual – and, consequently, there has been an increase in the number of press articles on the subject. Also, museum institutions such as New York’s Museum of Modern Art (MoMA) and London’s Tate Modern, have been acquiring works by photographers that belonged to Bandeirante to their collections, a determinant factor in the recent process of the recognition of the importance that association had in the history of Brazilian photography.
A pivotal personality for the establishment of the national photo-club movement, Eduardo Salvatore’s life story is associated to FCCB. His contribution to the Brazilian photography surpasses the value of his artistic legacy, still little researched. Through his efforts, Bandeirante gained recognition in Brazil and abroad. Not only did Salvatore transform Bandeirante, but also the Brazilian photography.
Marly T.C. Porto
Marly T.C. Portois author of dissertation “Comparisons and parallels: O Salão Internacional de Arte Fotográfica de São Paulo (1942 – 1959)”, submitted in 2018 to University of São Paulo’s Interunit Post-Graduate Program in Aesthetics and Art History, with a bachelor’s degree in Art: History, Critique and Curatorship from São Paulo’s Pontifical Catholic University, in 2012.
Eduardo Salvatore and his role as articulator of São Paulo State photo-club movement
Marly T.C. Porto