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The researcher from São Paulo, Dalton Sala, believes that Aleijadinho was an invention of the Getúlio Vargas government.
For him, the Master is a myth created on behalf of bulding of the national identity - a prototype of the typical Brazilian: "mestizo, tortured, sick, afflicted, capable to overcome the deficiencies through creativity".
For Sala, the existence of a person called Antônio Francisco Lisboa, known as Aleijadinho, to whom all the works were attributed, was ever confirmed. He attributes the construction of the myth of Aleijadinho to a political and ideological necessity of the Vargas dictatorship period.
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"Created two weeks after the 1937, military take over, SPHAN - Service of Historical and Artistic National Patrimony had as its goal to collaborate in the construction of a national identity".
Sala affirms that the production of that identity is based on two great myths: Aleijadinho and Tiradentes. The character of Aleijadinho opened way to a process of cultural autonomy which coincided with a process of political autonomy, personified in Tiradentes.
The researcher says that the myth Aleijadinho, of doubtful origin, already existed before Vargas. It was only then manipulated the "Estado Novo" (New State).
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In 1858, Rodrigo José Ferreira Bretas published in the 'Correio Oficial' of the State of Minas Gerais that he had found a book dated of 1790, with the history of Antônio Francisco Lisboa, Aleijadinho.
"It so happens that the book called 'Livro de registros de fatos notáveis da cidade de Mariana' was never seen by anyone", says Sala.
The researcher concludes his theory affirming that in 1989, the historian of Arte Germain Basin, told him that he was pressed by the former-president of SPHAN, Rodrigo Melo Franco de Andrade, and by the architect Lúcio Costa to emit declarations attributing authorship of works to Aleijadinho.
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