War and Peace - by Eraldo Miranda

by Eraldo

Miranda

Illustrated by Marcelo Alonso Translated by Eduardo Luiz Wienskoski

This book was inspired by the panels “War” and “Peace“ from

cria editora

Candido Portinari

2

Next page ›››

São Francisco de Assis - 1944

(panel) (irregular) 5.91 x 5.91 in (15 x 15 cm) Igreja de São Francisco de Assis Pampulha, Belo Horizonte, Minas Gerais State.

Conversations, Paintings, and Drawings I became acquainted with Portinari’s work when I was still a teenager exploring the city of Belo Horizonte.

In those days, I had the joy of becoming familiar with the Pampulha complex, where some of Portinari’s most impressive artworks reside. Portinari’s murals inside the Church of Pampulha, his tile mosaics on its façade, and the architecture of Oscar Niemeyer thrilled me so much that even today I haven’t forgotten the great impact of standing beside such great beauty.

Consequently, whenever I see something about Portinari, I immediately relate it back to my youth.

Recently though, my relationship with Portinari has taken on yet another dimension. Around 2009, I met his son, João Portinari, who moved me greatly with a few words he said at my home: “All the things my father did for painting is equivalent to what you have done for music.” This brought me even closer to everything related to the name Portinari.

Since then, my friendship with João has grown, and he invited me to participate in the “War and Peace” project, which brought the giant murals Portinari made for the United Nations headquarters in New York City to Brazil. João’s intention was both to restore the murals in Rio de Janeiro, and to send them on a domestic and international tour. I was elated when João asked me if I would like to play at every city the murals were exhibited. “Of course!” I responded, excited by the idea.

The first stage of the “War and Peace” project started in December 2010. A great reception was organized in Brazil to receive the murals. Since I was invited to perform with my band at the event, I thought, “why not compose a song for Portinari?” When I received a melody from my friend, guitarist Ricardo Vogt, I was immediately inspired by the murals themselves to write lyrics for Portinari. The result was the song “Conversations, Paintings, and Drawings”, which was played for the first time on December 21, 2010 at the Teatro Municipal in Rio de Janeiro, on stage with the “War and Peace” murals.

All of this has left me very happy. Today, I am elated to know that Portinari’s work is becoming evermore present in our social imaginary. Likewise, it is extremely gratifying to participate in the “War and Peace” project because any initiative made to inspire interest in reading and knowledge for our youth is worthy of the grandest of praises.

Milton Nascimento

3

When we open our eyes into the past, a time when memories told us stories, there lived a certain Hand Who Tells Stories. But how can a hand tell stories?

This Hand could speak of the sky and the earth, the day and the night, the young and the old. The Hand did not use spoken or written words; it spoke with hues of paint that took on many forms when translated by the words of poets or sung in celebration by musicians, for life and movement were in those hues. To be able to perceive and hear his stories it was necessary to look with an open heart, and all the images could come to life, for this was the way that The Hand Who Tells Stories reminded men that they were men.

4

On a certain Autumn evening, when The Hand Who Tells Stories was contemplating the sunset, which painted the sky into boundless forms, a group of Little Hands, who played nearby inventing worlds out of sand, stopped playing, and knowing that this Hand could tell stories, approached it with smiling faces and asked in a chorus: – Hello, Hand Who Tells Stories. Tell us a splendid story. We know they are colorful and very special!

5

And the Hand, at the sight of so many smiling Little Hands, couldn’t resist. Opening a great smile, he replied: – Oh! This warms my heart, I have here a very special story and I wish for the world to know it. But I will only tell you, if you promise that you will tell all your friends and that they will tell their friends so that this story will always remain vibrant in mankind’s memory.

6

7

The Little Hands,excited tohear the story held their smilesinagreement, and so after a breath, The Hand Who Tells Stories began. – One time, the icy Hands of War, without eyes and without a heart, bound by the gloves of solitude, hunger, sadness, and intolerance, decided to travel the paths of the world to paint horror on the lives of man. They mounted their starved horses, which were fed only by hatred, and set out on a long voyage. But, my darling Little Hands, they did not set out alone. Behind them followed terrible beasts, which roamed freely and fed themselves with the terror and fear living in the hearts of mankind.

It was not long before those cold Hands of War found a large and fertile field of golden wheat, which danced at the kiss of the wind. At the simple touch of a finger so hungry for misery, the golden field transformed into weeds shaded by thorns, in a land vacant of any soul. The men, who once smiled and sang during harvest and abundance, fell to their knees and drowned the land with their tears.

8

9

At the sight of that barren land, the unfeeling Hands of War continued on their path of terror. Just ahead of them they saw a great party alive with unity and happiness. Without pause, they launched the colors of solitude and anguish and all became division: men distanced themselves from women, friends separated, mothers were left searching for their children, and children were left searching for their mothers. In that place of music and laughter, all that was heard were cries of desolation, which brought joy only to the perverse Hands of War. Perhaps not joy; the Hands of War could not smile or express such a feeling, as they had no heart and much less eyes to see the miracle of life.

Leaving that sad land governed only by division, the inhuman Hands of War continued on their path to paint men with despair.

Because they galloped with the velocity of hatred, they caught up with horsemen that galloped for liberty on their animals, who were messengers of peace. The cruel Hands of War launched their beasts of hatred on them and painted them with terror and fear.

The men and animals fell to the ground and with them so did the hope of the people of that land.

10

11

Still not satisfied with all their brutality, the Hands of War continued on their voyage to rob men of their liberty and bring injustice. For this they knew they had to destroy man’s greatest hope. It was not long before they arrived at a large park where children played freely and laughed at tumbling clowns. The blind Hands of War gave them no time to react; they circled the park and painted the children with despairing sadness. The color on the clown’s face streamed off with his tears and he became faceless; the children’s happy grins were robbed by the roars and screams of the merciless beasts. Where there once was a park filled with hope, there remained only a valley of sitting and crying children, searching for the joy they once found in a toy, in a song, in a hug, in a tender look.

Biographies

Eraldo Miranda was born in the small town of Alumínio in the state of São Paulo. Of humble origins, he was raised in the town of Tatuí, where he began primary school. His time in the welcoming streets Tatuí was marked by his friends, the games they played, and the storytelling sessions; all which greatly influenced him in the future.

At the age of 15 he returned to Alumínio to live with his uncles, then with his parents who returned to the town as well, and lastly with his friends, until living on his own. All along those chapters, his friends, teachers, and the aluminum industry which ran the town influenced him very much, but what proved to be most lifealtering was his involvement with theater, dance, his work with children, many books, and countless readings.

From there Eraldo Miranda awoke to the art of storytelling and literature, which took him to move to the city of Guarulhos in Sao Paulo in 2001. He still lives there today but takes pleasure in traveling around Brazil to give lectures and read his books to parents, children, and teachers.

Eraldo Miranda and Nina Alonso

Candido Portinari and João Candido Portinari

Candido Portinari was born in the town of Brodowski in the state of São Paulo on December 30, 1903. The son of Italian immigrants who came to Brazil to work in the coffee plantations, he discovered in his youth, between toys and child’s play, his talent for telling stories with paint and paintbrushes.

It was not long before the boy with blue eyes left his family to astonish the world. At the age of 15, with aid from his family and friends, the heartbroken young man left his native land to live in Rio de Janeiro to study and perfect his art. In the Marvelous City, his skill and talent developed quickly and led him down a path to living in Paris.

For all his efforts and sacrifices he was soon recognized as one of the most prestigious Brazilian artists and the most internationally recognized Brazilian artist. Portinari created almost 5,000 works of art, among them the murals “War and Peace”, which solidified his art as one of the most expressive of all times. These murals were given to the U.N. headquarters in New York City in 1957 by the Brazilian government, an event that was and remains a great honor for the Brazilian people.

On the unforgettable day of February 6, 1962, Candido Portinari passed away in Rio de Janeiro, leaving his work, an inspiration for mankind to continually dream of peace and better days.

Image Credits: Images from the Projeto Portinari archives Reproduction authorized by João

Candido Portinari

War 1952-1956 Panel - oil/plywood 45’11 x 34’8 ft (1400 x 1058cm) (approximately) (irregular) Rio de Janeiro, RJ Signed and dated on the bottom left corner “PORTINARI RIO 1952 -1956”.

Peace 1952-1956 Panel -oil/plywood 45’11 x 31’3 (1400 x 953 cm) (approximately)(irregular) Rio de Janeiro, RJ Signed and dated on the bottom left corner “PORTINARI RIO 1952 -1956”.

Real scale

Intertwined Hands - c.1955

Drawing – lead pencil and color crayon/paper 4x4in (10x10cm) No signature or date.

Boy Crying - 05/1956 Drawing- lead pencil, crayon, color crayon/paper 12x8in (30.5 x21cm)(approximately) Capri, Italy Signed and dated in dedication on the bottom right “For Marina, with affection, Portinari. Capri V-956”

Peace - 06/1955 Drawing - lead pencil, sanguine, color pencil/paper 20 x 14.3 in (51 x 36,5cm) Signed on the bottom left corner “peace VI 55”

Circle Dance - 06/1955

Drawing- lead pencil, crayon, color crayon, sanguine, sepia/cardboard 14 x14 in (35,5 x 35,5 cm) (approximately) Rio de Janeiro,RJ Signed on the bottom left corner “Portinari”.

Dated in inscription on the bottom left corner “ Paz U.N. VI-55”.

Pinwheel - c.1956 Drawing – pastel and lead pencil/paper 10.6 x 9.6 in (27 x 24,5cm) (approximately) Signed on the bottom right “Portinari”. No date.

Woman with dead son - [1955] Drawing - crayon, color crayon, sanguine/paper 16 x 16,6in (40.5 x 29.5cm) Capri, ITA Signed and dated on the dedication, on the right bottom half “ For Chiara, a souvenir for the good outings we were fortunate to have and my friendship to you. Portinari. Capri V-1956”

Boys on a swing - c.1955 Drawing - lead pencil and colored pencil/paper 9.8 x 9.6 in (25 x 24,5 cm) (approximately) Signed on the bottom right “Portinari”. No date.

Horse - 1956 Drawing – lead pencil and pastel /cardboard 13 x 6.7in (33 x 17cm) (approximately) Rio de Janeiro, RJ. Signed on the bottom left corner “Portinari”.

Dated in inscription on the bottom half “Paz 56 O.N.U”

Mother -[1955] Oil painting/plywood 5’2 x 3’7ft (160 x 110 cm) Signed on the bottom left “ PORTINARI”. No date.

Crying woman - [1955]

Painting - oil/plywood 5’2 x 3’7 ft (160 x 110cm) Rio de Janeiro, RJ Signed and dated on the bottom half on the left “ PORTINARI 56” Inscription on the bottom half on the left “ War - U.N. N.Y.”

Women crying - 1956-58

The Mother’s Suffering - 1955

Drawing with graphite, crayon, color pencil/kraft paper 12.7 x 9 in ( 32,5 x 23 cm) (approximate) Rio de Janeiro, Rio de Janeiro, Brasil Signed on the bottom right corner “ Portinari, 955” Inscription on the bottom half on the right “ Study for the mural “War” for the U.N.”

Woman -c.1955

Drawing with graphite and color pencil/paper 17 x 8.7 in (44 x 22cm) Signed on the bottom right corner “Portinari”. No date Inscription on the bottom right corner “War U.N.NY”

Wild Beasts -[1955]

Painting - oil/plywood 4’11 x 7’3 (150 x 220cm) Rio de Janeiro, RJ No signature or date.

Crying woman - c.1955

Painting - oil/plywood 5’2 x 3’7ft (160x110cm) Rio de Janeiro, RJ. Signed and dated on the bottom right “PORTINARI 56-58”

Painting - Oil/plywood 5’3 x 3’8 ft (161 x 111cm) Rio de Janeiro, RJ Signature stamped on the bottom right corner “ PORTINARI *”. No date.

Kneeling Woman with Dead Son -[1955]

Painting - oil/plywood 4’3 x 6’7 ft (130 x200cm) Rio de Janeiro,RJ No signature or date.

Woman with dead son - [1955] Painting - oil/plywood 5’2 x 3’10ft(158 x 118cm) Rio de Janeiro, RJ Signed and dated on the right margin “ PORTINARI 56-58[sic]”

All of this has left me very happy. Today, I am elated to know that Portinari’s work is becoming evermore present in our social imaginary. Likewise, it is extremely gratifying to participate in the “War and Peace� project because any initiative made to inspire interest in reading and knowledge for our youth is worthy of the grandest of praises.

Milton Nascimento

cria editora criaeditora.com.br