There was perhaps one Brazilian artist familiar to the British public in 1944, but she was not represented in the ‘Exhibition of Modern Brazilian Paintings’ that opened at the Royal Academy in November of that year. Certainly, in the case of Sacheverell Sitwell, who wrote the preface to the exhibition catalogue, there was no escaping the looming presence of Brazil’s most famous cultural export, Carmen Miranda.
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Caravaggio goes digital in Milan