Critical Commentary (1)
José Medeiros was one of the staff photographers led by Jean Manzon (1915-1990) who participated in the editorial renovation of the magazine O Cruzeiro [The Crux], beginning in 1943. Based on the model of international magazines such as the American Life and the French Paris Match, the project introduced photojournalism in the Brazilian press. Pictures were given special emphasis and the renovation contributed to disseminate the aesthetics of modern photography in Brazil: close-ups, unusual angles, picture spreads, geometric frames etc.
O Cruzeiro mainly focused on subjects relevant to the nationalist ideology, conveying an image of Brazil as a country bound for progress and modernity. According to the researcher Helouise Costa, the most recurring subjects were profiles of political and artistic personalities, sports and recreation scenes (beach, soccer and carnival), art, science, nature, adventure, the city as a symbol of progress, the “grotesque” (physical deformations and sensational crimes), the “exotic” (indigenous people, non-Catholic religions and popular celebrations) and the cultural diversity of the country itself.1
Within this context, Medeiros’ work was diversified and partially followed the editorial line of the magazine.
He photographed artists and prominent politicians of the time, Rio de Janeiro’s beach life and carnival, becoming well-known mainly for registering people, communities and cultural manifestations of marginalized groups, like the black people, candomblé, mental patients, prostitutes and Indian tribes. Medeiros’ approach rendered the destitute dignity, when viewed apart from the editorial treatment given to photographs in the magazine
Ιφιγένεια Σιαφάκα - Ifigeneia Siafaka
Ενύπνια Ψιχίων 