End Notes
1 Le Blanc, Aleca. “Building the Tropical World of Tomorrow: The Construction of Brasilidade at the 1939
New York World’s Fair.” Hemisphere: Visual Cultures of the Americas 2, 1 (2009): 26 . https://digitalrepository. unm.edu/hemisphere/vol2/iss1/5, p26
2 Patterson, Jody. “Modernism and Murals at the 1939 New York World’s Fair,” American Art, Vol. 24, No. 2 .
University of Chicago Press, 2010., p52-53
3 Le Blanc, “Building the Tropical World of Tomorrow”, p 27
4 Williams, Daryle. Culture Wars in Brazil: The First Vargas Regime, 1930–1945. Duke University Press, June
21, 2001. p xviii
5 Williams, Culture Wars in Brazil, p202
6 Comas, Carlos Eduardo. “New York World’s Fair of 1939 and the Brazilian Pavilion,” Arqtexto,no.16, p60
7 Williams, Culture Wars in Brazil, p209
8 Ibid.
9 Ibid, p212
10 “Modern Art Week and the Rise of Brazilian Modernism”. Library.brown.edu. https://library.brown.edu/create/fivecenturiesofchange/chapters/chapter-5/modern-art-week-and-the-rise-of-brazilian-modernism/. (accessed May 8, 2019)
11 “Art in Brazil”. Lumenlearning.com. https://courses.lumenlearning.com/boundless-arthistory/chapter/artin-
brazil/ (accessed May, 8 2019)
12 Morse, Richard M. “Brazilian Modernism”. The Hudson Review, Vol. 3, No. 3 (Autumn, 1950), p447
13 “Modern Art Week and the Rise of Brazilian Modernism”
14 Jobim, José Luís. “Cannibalism as Cultural Appropriation: From Caliban to the ‘Cannibalist Manifesto’”.
Gragoatá, v.20 no.39, 2015. Universidade Federal Fluminense, BR. p393-394.
15 Castro, Maria. “Tarsila do Amaral, Abaporú”. Khanacademy.org. https://www.khanacademy.org/humanities/
art-1010/art-between-wars/latin-american-modernism1/a/tarsila-do-amaral-abapor (accessed May 8, 2019)
16 astro, Maria. “Tarsila do Amaral, Abaporú”
17 D’Alessandro, Stephanie, Luis Pérez Oramas. “Tarsila do Amaral Inventing Modern Art in Brazil”. Moma.org.
https://www.moma.org/calendar/exhibitions/3871 (accessed May, 9 2010)
18 “Art in Brazil”
19 Chiarelli, Tadeu. “Modernism and Concretism in Brazil: Impacts and Resonances”. Post.at.moma.org.https://
post.at.moma.org/content_items/310-modernism-and-concretism-in-brazil-impacts-and-resonances
(accessed May 8, 2019)
20 Ibid.
21 “Art in Brazil”
22 “Lucio Costa”. Britannica.com. https://www.britannica.com/biography/Lucio-Costa (accessed May 8, 2019)
New York World’s Fair.” Hemisphere: Visual Cultures of the Americas 2, 1 (2009): 26 . https://digitalrepository. unm.edu/hemisphere/vol2/iss1/5, p26
2 Patterson, Jody. “Modernism and Murals at the 1939 New York World’s Fair,” American Art, Vol. 24, No. 2 .
University of Chicago Press, 2010., p52-53
3 Le Blanc, “Building the Tropical World of Tomorrow”, p 27
4 Williams, Daryle. Culture Wars in Brazil: The First Vargas Regime, 1930–1945. Duke University Press, June
21, 2001. p xviii
5 Williams, Culture Wars in Brazil, p202
6 Comas, Carlos Eduardo. “New York World’s Fair of 1939 and the Brazilian Pavilion,” Arqtexto,no.16, p60
7 Williams, Culture Wars in Brazil, p209
8 Ibid.
9 Ibid, p212
10 “Modern Art Week and the Rise of Brazilian Modernism”. Library.brown.edu. https://library.brown.edu/create/fivecenturiesofchange/chapters/chapter-5/modern-art-week-and-the-rise-of-brazilian-modernism/. (accessed May 8, 2019)
11 “Art in Brazil”. Lumenlearning.com. https://courses.lumenlearning.com/boundless-arthistory/chapter/artin-
brazil/ (accessed May, 8 2019)
12 Morse, Richard M. “Brazilian Modernism”. The Hudson Review, Vol. 3, No. 3 (Autumn, 1950), p447
13 “Modern Art Week and the Rise of Brazilian Modernism”
14 Jobim, José Luís. “Cannibalism as Cultural Appropriation: From Caliban to the ‘Cannibalist Manifesto’”.
Gragoatá, v.20 no.39, 2015. Universidade Federal Fluminense, BR. p393-394.
15 Castro, Maria. “Tarsila do Amaral, Abaporú”. Khanacademy.org. https://www.khanacademy.org/humanities/
art-1010/art-between-wars/latin-american-modernism1/a/tarsila-do-amaral-abapor (accessed May 8, 2019)
16 astro, Maria. “Tarsila do Amaral, Abaporú”
17 D’Alessandro, Stephanie, Luis Pérez Oramas. “Tarsila do Amaral Inventing Modern Art in Brazil”. Moma.org.
https://www.moma.org/calendar/exhibitions/3871 (accessed May, 9 2010)
18 “Art in Brazil”
19 Chiarelli, Tadeu. “Modernism and Concretism in Brazil: Impacts and Resonances”. Post.at.moma.org.https://
post.at.moma.org/content_items/310-modernism-and-concretism-in-brazil-impacts-and-resonances
(accessed May 8, 2019)
20 Ibid.
21 “Art in Brazil”
22 “Lucio Costa”. Britannica.com. https://www.britannica.com/biography/Lucio-Costa (accessed May 8, 2019)
23 Banerji, Robin. “Niemeyer’s Brasilia: Does it work as a city?” BBC.com.https://www.bbc.com/news/magazine-20632277 (accessed May 8, 2019)
24 “Building Brazil; Oscar Niemeyer”. The Economist, Vol. 405, Iss. 8816, (Dec 22, 2012) p154
25 Ibid.
26 Pereira, Matheus. “Roberto Burle Marx’s Legacy Reveals The Role of Landscape Architects”. Archdaily.com.
https://www.archdaily.com/878168/roberto-burle-marxs-legacy-reveals-the-role-of-landscape-architects
(accessed May 8, 2019)
27 Curtis, William JR. “Oscar Niemeyer (1907-2012)”. Architectural-review.com. https://www.architecturalreview.
com/essays/oscar-niemeyer-1907-2012/8640244.article (accessed May 8, 2019)
28 Comas, “New York World’s Fair of 1939 and the Brazilian Pavilion,” p67.
29 Ibid.
30 Ibid, p70
31 Le Blanc, “Building the Tropical World of Tomorrow”, p29
32 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p71
33 Comas, Carlos Eduardo, and David Leatherbarrow. “Solving Problems, Making Art, Being Modern.” Journal
of Architectural Education , vol. 64, no. 1, 2010, p68.
34 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p83
35 Ibid, p80
36 Greet, Michele. “Devouring Surrealism: Tarsila do Amaral’s Abaporu”. Papers of Surrealism, Issue 11, Spring
2015, p8
37 Williams, Culture Wars in Brazil, p215
38 Ibid.
39 Ibid.
40 Morse, Richard M. “Brazilian Modernism” p447
41 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p75
42 Barcio, Phillip. “Giorgio de Chirico and the Paintings Which Cannot be Seen”. Ideelart.com. https://www. ideelart.com/magazine/giorgio-de-chirico-metaphysical-painting-pittura-metafisica.(accessed May 8, 2019)
43 Ibid.
44 Pereira, Matheus. “Roberto Burle Marx’s Legacy Reveals The Role of Landscape Architects”
24 “Building Brazil; Oscar Niemeyer”. The Economist, Vol. 405, Iss. 8816, (Dec 22, 2012) p154
25 Ibid.
26 Pereira, Matheus. “Roberto Burle Marx’s Legacy Reveals The Role of Landscape Architects”. Archdaily.com.
https://www.archdaily.com/878168/roberto-burle-marxs-legacy-reveals-the-role-of-landscape-architects
(accessed May 8, 2019)
27 Curtis, William JR. “Oscar Niemeyer (1907-2012)”. Architectural-review.com. https://www.architecturalreview.
com/essays/oscar-niemeyer-1907-2012/8640244.article (accessed May 8, 2019)
28 Comas, “New York World’s Fair of 1939 and the Brazilian Pavilion,” p67.
29 Ibid.
30 Ibid, p70
31 Le Blanc, “Building the Tropical World of Tomorrow”, p29
32 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p71
33 Comas, Carlos Eduardo, and David Leatherbarrow. “Solving Problems, Making Art, Being Modern.” Journal
of Architectural Education , vol. 64, no. 1, 2010, p68.
34 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p83
35 Ibid, p80
36 Greet, Michele. “Devouring Surrealism: Tarsila do Amaral’s Abaporu”. Papers of Surrealism, Issue 11, Spring
2015, p8
37 Williams, Culture Wars in Brazil, p215
38 Ibid.
39 Ibid.
40 Morse, Richard M. “Brazilian Modernism” p447
41 Comas. “New York World’s Fair of 1939 and the Brazilian Pavilion” p75
42 Barcio, Phillip. “Giorgio de Chirico and the Paintings Which Cannot be Seen”. Ideelart.com. https://www. ideelart.com/magazine/giorgio-de-chirico-metaphysical-painting-pittura-metafisica.(accessed May 8, 2019)
43 Ibid.
44 Pereira, Matheus. “Roberto Burle Marx’s Legacy Reveals The Role of Landscape Architects”