Abstract
Brazilian Romantic Satire on the Peripheries of Photo-Realism: the Case of Angelo Agsostini
The following analysis considers four abolitionist satires produced
by Agostini, a satiric lithographer of genius who worked in Rio de Janeiro in
the second half of the nineteenth century. Agostini is shown to have evolved
a unique graphic language in order to describe the co-existence of modern
urban capitalism with ancient social abuses. Agostini emerges as having
fused new ways of looking which came out of photography with the older
symbolic and emblematic languages of European print satire.