Assis Horta: The democratization of photographic portraitthrough the Brazilian Labor Law (CLT)

Project of Photographic Researchproposed by Guilherme Horta

. . .

Historical and iconographic research to investigate the beginningof photographic portrait use by the Brazilian working class.

©photoby

Assis

Horta

“Portrait is probably the most powerful art form, dating at least to 270 B.C. Its fascinationover human imagination is unique: it is still a privileged link between reason and themagical spirit which doesn't leave humankind. This is due to the fact that portrait not onlygives itself to the eye of the observer, but also observes him attentively, which can becomforting or threatening. The “primitives” may have been right when they denied beingexposed to the eye of the camera, which would capture not only their appearance, butalso their essence. Portrait are in fact a constant exercise of social and individual psy-chology,

and it is in them that the central issue of arts presents: representation versus expression.

So, what is at stake in the portrait is not only its aesthetic form but also a way to under-stand human nature. If portraits were for a long time a technique to freeze reality andshow it as it is, better than reality itself, nowadays it is an ever-changing exercise of rep-resenting the fluctuating human identity.”

Teixeira CoelhoExtracted from the exhibit “To look and be seen”MASP – Museu de Arte de São Paulo 2009/2010

P O R T R A I T

3x4 photographics portraits of female workers from the textile industry in Biribiri-MG 2 months afterthe Brazilian Labor Law (CLT) was approved.

©photoby

Assis

Horta

After the Brazilian Labor Law (CLT) of May 1st, 1943, millions of workers sat in front of acamera, probably for the first time, to regulate their professional registration (Art. 13)and use their 3x4 photographs on their Brazilian work identification document (CTPS)(Art. 16).

THE PRESIDENT OF THE REPUBLIC OF BRAZIL, by the powers vested in him on Art. 180 of the BrazilianConstitution decrees:

Art. 1 – The Brazilian Labor Law (CLT) is approved, which follows this decree, with the modifications in-troduced by them in the current legislation.

Single Paragraph. The legal transitory or urgent dispositions, as well as the ones which are not appliedin all national territory, are still effective.

Rio de Janeiro, May 1st 1943, 122th year of Independence and 55th of the Republic.

Getúlio Vargas

Art. 13 – The Brazilian work identification document (CTPS) is mandatory to work on any job, includingthose of rural nature, even if temporary and for self-employment in paid professional activities.

Art. 16 – The Brazilian work identification document, besides it's number, series, and date of issue,will also included about its holder:1) Photograph with mention to the date it was taken.

©photoby

Assis

Horta

With the widespread use of 3x4 photos,photographers started to be known by workers.

Photographic portrait becomes part of worker's lives.It fulfills dreams, dignifies people and help minimize homesickness

by making this human being eternal.

©photoby

Assis

Horta

Assis Horta, a photographer, who is 94 years-old nowadays,had a photography studio in Diamantina, Minas Gerais,

between the 40s and the 70s.He developed an important work in preserving the local culture

and memory through IPHAN,the Brazilian Institute of Historical and Artistic Heritage.

He registered in glass platesalmost all the members of the

society of Diamantina at that time.

©photoby

Assis

Horta

G O A L S

©photoby

Assis

Horta

J U S T I F I C A T I O N

©photoby

Assis

Horta

©photoby

Assis

Horta

©photoby

Assis

Horta

©photoby

Assis

Horta

©photoby

Assis

Horta

E X H I B I T

P h o t o g r a p h i c R e s e a r c h b yG u i l h e r m e H o r t a

P h o t o g r a p h s b yA s s i s H o r t a