Besides the paintings and poetry and politics projects, Candido Portinari made an effort to be a good drawer.
Candido Portinari: the drawer
The universal drawing masters have always venerated the impulse of the first trace characterized by the subtle sensuality of the gesture that leads the drawer to express himself quickly within the exactness of the instant image.
This image, compared to the chromatic opulence of a painting, results in a complete divestment of the space and composition in benefit of the artist’s original impetus in his first gesture in the space, fleeing from the limitations imposed by the theme. Exceeding this limit, the drawer simultaneously represents a refined mental elaboration and especially the grammar of the organic gesture. Not by chance, there are imposing museums around the world specialized in the drawing masters of all times, and for centuries they collected the sketches, rough drafts and studies of these atemporal geniuses as a way to prove, for posterity, how the works were born and conceived.
Present in all periods of his work life, Portinari’s drawings represent a detailed diary of all imaginary solutions and evolutions of his work. Including in that long period when he was unable to use paints for health reasons.
During that period, as the only option in face of his inventive voracity, his drawings acquired moments of total explosion. They were his spiritual guides in the development of immediate and future themes, inner-soul annotations for tellurian solutions. Portraying the feet and hands of the blunt reality, he registers lives de-spiritualized by the life struggle, the harsh moment of his destinations. But his faith in mankind’s soul actually prevailed as his first self-evident principle.
Mankind was always the fundamental point for Portinari. The clear concern of his expressionism was manifested all the time in his vehement social-humanist protest.
Source: CAMARGO, Ralph Portinari Desenhista. Rio de Janeiro. 1977