Roberto Rugiero critiques Brazilian folk art market amid renewed institutional interest

Specialist Roberto Rugiero, owner of Galeria Brasiliana in São Paulo, argues that Brazilian folk art remains undervalued despite recent institutional attention. He cites the 2000 Mostra do Redescobrimento as a recent milestone, while lamenting a critical vacuum since the 1970s when New York became the dominant reference. Rugiero rejects the term "arte naïf" as a pejorative gallicism used to sell unsuspecting foreigners watered-down art. He traces the genre's origins to the colonial Baroque period, noting that literate artists were a minority until industrialization, leaving much quality popular commercial art from cities like Olinda lost. The specialist highlights key 1940s discoveries following Mário de Andrade's 1938 Mission of Folklore Research, including José Claudino da Nóbrega's unveiling of Cuiabá's Baroque and Mestre Guarany, and Augusto Rodrigues's discovery of Mestre Vitalino in Caruaru. Rugiero also points to the 1960s work of Lina Bo Bardi in Salvador as another pivotal moment. He believes contemporary artists like Efrain Almeida and historical figures like Tarsila do Amaral draw significant power from this spontaneous art tradition. The current scene includes the reopening of the Pavilhão das Culturas Brasileiras in São Paulo, the reassembly of Lina Bo Bardi's Bahian collection at the Solar do Ferrão in Salvador, and the visibility of Acreano artist Hélio Melo at the 27th Bienal de São Paulo.