{"id":1382,"date":"2026-06-03T21:35:46","date_gmt":"2026-06-04T02:35:46","guid":{"rendered":"https:\/\/amazon.uniandes.edu.co\/?p=1382"},"modified":"2026-06-03T21:38:08","modified_gmt":"2026-06-04T02:38:08","slug":"theodoro-bragas-rubber-tree","status":"publish","type":"post","link":"https:\/\/amazon.uniandes.edu.co\/pt-pt\/theodoro-bragas-rubber-tree\/","title":{"rendered":"Theodoro Braga\u2019s Rubber Tree"},"content":{"rendered":"\n<p class=\"has-text-align-center wp-block-paragraph\">Cathryn Jij\u00f3n, PhD Candidate, Art History, The Graduate Center, CUNY<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Entering the second-floor gallery of the Museu de Arte de Bel\u00e9m (MABE) during our museum walkthrough with historian Aldrin Moura de Figueiredo, I found myself struck by Theodoro Braga\u2019s monumental <em>A funda\u00e7\u00e3o da cidade de Nossa Senhora de Bel\u00e9m do Par\u00e1<\/em> <em>(The Foundation of the City of Our Lady of Bel\u00e9m of Par\u00e1) <\/em>(1908) (fig. 1).<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-1024x683.jpg\" alt=\"\" class=\"wp-image-1370\" srcset=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-1024x683.jpg 1024w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-300x200.jpg 300w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-768x512.jpg 768w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-1536x1024.jpg 1536w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-1-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Fig. 1: Theodoro Braga, <em>A funda\u00e7\u00e3o da cidade de Nossa Senhora de Bel\u00e9m do Par\u00e1<\/em>, 1908. Oil on canvas, 226 x 504 cm. Museu de Arte de Bel\u00e9m. Photo: Mois\u00e9s Oliveira.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Braga\u2019s panoramic history painting portrays the founding of the colonial city of Bel\u00e9m on January 12, 1616. The dipartite composition, read from right to left, depicts the Indigenous Tupinamb\u00e1 people observing the arrival of Portuguese ships in the bay and, moving forward in time, the construction of the colonial military fort, the Forte do Castelo. At center and dividing the composition are two tall trees that extend upwards and disappear beyond the painting\u2019s frame. Below the trees, at right, appear Indigenous figures, largely depicted from the back and in the nude, while at left, their mirror position is occupied by the painting\u2019s \u201chero,\u201d Portuguese conquistador Francisco Caldeira Castelo Branco, and his general staff. The work\u2019s elaborate frame also interacts directly with the scene\u2014 intricately decorated, it features three-dimensional tropical flora that echo the painting\u2019s landscape details.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As Moura de Figueiredo explained during our walkthrough and has detailed in his extensive scholarship on Braga, the painting transforms this historical event into a nationalist mythology, whereby the city\u2019s founding becomes an origin story for the Brazilian Amazon at large. Writes Moura de Figueiredo:<\/p>\n\n\n\n<p class=\"has-text-align-right wp-block-paragraph\">Como uma esp\u00e9cie de epis\u00f3dio embrion\u00e1rio, o retrato da funda\u00e7\u00e3o de Bel\u00e9m era, por si s\u00f3 e por isso mesmo, um mito fundador da identidade nacional na Amaz\u00f4nia. A escolha do tema possu\u00eda, em vista de seu significado hist\u00f3rico, muito evidente: o nascimento da capital do Par\u00e1 legitimava a imagem do luso conquistador e criadora dessa <em>Feliz Lusit\u00e2nia<\/em>, como resultado desse encontro de dois povos diferentes. Como fruto de uma cria\u00e7\u00e3o divina, por m\u00e3os humanas\u2014paradis\u00edaca portanto\u2014a cidade deveria nascer com caracter\u00edsticas marcadas por valores crist\u00e3os, humanos, civilizados e heroicos. Na m\u00e3o do pintor, os documentos s\u00e3o lidos, transcritos, e, por vezes omitidos, para justificar o argumento da obra.<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As such, Braga\u2019s painting occupies an interesting space within the cultural and political history of Bel\u00e9m. Politician and city mayor Ant\u00f4nio Lemos commissioned the painting during the height of the rubber boom (1879-1912), a period that saw an influx of capital and increased cultural patronage in Bel\u00e9m and which wrought devastating violence against Indigenous and non-Indigenous Amazonians, laborers, and the land itself at the hands of rubber barons.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The relationship between Braga\u2019s painting and the rubber boom is something that I find particularly interesting. Moura de Figueiredo notes that Braga, despite conducting in-depth archival research to ensure the historical veracity of the painting, chose to include historically <em>inaccurate<\/em> elements that responded directly to rubber boom politics. In the painting, the fort appears as a complex stone structure, rather than a simple wooden building, while Caldeira and his men appear empowered and finely dressed, rather than destitute and seeking help. These strategic changes obscure the inherent precarity and uncertainty of the early-colonial Portuguese settlement, instead idealizing Bel\u00e9m\u2019s founding. In doing so, Braga\u2019s painting suggests that Bel\u00e9m\u2019s rubber-driven ascendance at the turn of the twentieth century was a natural outcome of the city\u2019s long and triumphant historical trajectory. As Moura de Figueiredo writes, \u201cA grande capital da borracha n\u00e3o poderia, no entanto, aos olhos do pintor e principalmente de seu mecenas\u2014o intendente Antonio Lemos\u2014, ter experimentado uma origem t\u00e3o simpl\u00f3ria. O presente reinventou o passado na paleta do pintor.\u201d<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In thinking more about Braga\u2019s <em>A funda\u00e7\u00e3o da cidade de Nossa Senhora de Bel\u00e9m do Par\u00e1<\/em>, I found myself wondering about how, in addition to reflecting the immediate political interests of Bel\u00e9m\u2019s ruling class, the painting responds to or enacts an extractivist gaze. Igor Gon\u00e7alves Chaves, in his analysis of Braga\u2019s painting, identifies the trees at center as \u201cgrandes emba\u00fabas e seringeuiras,\u201d or cecropia and rubber trees (fig. 2).<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a>&nbsp; Given their prominent position at the center of the painting, it\u2019s difficult for me to believe that Braga\u2019s towering rubber trees are purely picturesque. The rubber tree is, after all, the landscape element around which the entire historical narrative hinges, and they also mark the passage from the Indigenous \u201cpast\u201d to the beginnings of Western \u201ccivilization\u201d in Paran\u00e1-Gua\u00e7u (now Guajar\u00e1 Bay), thus smoothing over histories of colonial violence and Tupinamb\u00e1 resistance against the Portuguese.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"770\" height=\"1024\" src=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-2-770x1024.jpg\" alt=\"\" class=\"wp-image-1373\" srcset=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-2-770x1024.jpg 770w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-2-226x300.jpg 226w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-2-768x1022.jpg 768w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-2.jpg 1045w\" sizes=\"auto, (max-width: 770px) 100vw, 770px\" \/><figcaption class=\"wp-element-caption\">Fig. 2: Detail from Theodoro Braga, <em>A funda\u00e7\u00e3o da cidade de Nossa Senhora de Bel\u00e9m do Par\u00e1<\/em>, 1908. Photo: Cathryn Jij\u00f3n.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">To me, this placement underscores the symbolic function of the rubber tree, evoking notions of progress, development, and westernization. As such, it suggests the promise of what historian Jos\u00e9 Murilo da Carvalho identifies as Brazil\u2019s grandeza, or greatness, and the belief that harnessing and developing its rich resources will allow the country to \u201cbecome a powerful empire.\u201d<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a> Elaborating Murilo da Carvalho\u2019s argument, environmental humanities scholar Jessica Carey-Webb specifically links the promise of Brazil\u2019s grandeza to the rubber boom, noting that the Amazon became a contested space during this period precisely because of its \u201cpotential riches\u201d and the promises it held for the country\u2019s future.<a href=\"#_ftn2\" id=\"_ftnref2\">[2]<\/a> Marking the transition to the beginning of colonial empire, Braga\u2019s rubber tree inscribes the extractive ideals of the rubber boom into the city\u2019s historical past and founding mythos. That Braga\u2019s Tupinamb\u00e1 figures become docile, productive laborers working to construct Bel\u00e9m\u2019s fort also implies the desired labor relations of the period, during which rubber barons exploited and enslaved Indigenous populations throughout the Amazon.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An exploration of the extractive gaze is something that shapes my own academic research. I found myself drawn to Braga\u2019s painting, in part, because of the way that it intersects with my study on Oswaldo Guayasam\u00edn\u2019s mural <em>El Descubrimiento del R\u00edo Amazonas (The Discovery of the Amazon River)<\/em> (fig. 3).<a href=\"#_ftn1\" id=\"_ftnref1\">[1]<\/a> The three-part mural depicts Francisco de Orellana\u2019s sixteenth century expedition that led to the first European encounter with the Amazon River, and my analysis situates Guayasam\u00edn\u2019s treatment of the river in relationship to contemporaneous discourses that linked control of the waterway to notions of progress and the promise of Ecuadorian economic modernization. Though completed in Quito, Ecuador in 1960, more than fifty years after Braga\u2019s painting debuted in Bel\u00e9m\u2019s Teatro de Paz, Guayasam\u00edn\u2019s mural similarly recasts early colonial history through the extractive desires and nationalist ambitions of the twentieth century.<\/p>\n\n\n\n<figure class=\"wp-block-image alignwide size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"768\" height=\"1024\" src=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-768x1024.jpg\" alt=\"\" class=\"wp-image-1376\" srcset=\"https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-768x1024.jpg 768w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-225x300.jpg 225w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-1152x1536.jpg 1152w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-1536x2048.jpg 1536w, https:\/\/amazon.uniandes.edu.co\/wp-content\/uploads\/2026\/06\/Jijon-blog-post_fig-3-scaled.jpg 1920w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\" \/><figcaption class=\"wp-element-caption\">Fig. 3: Oswaldo Guayasam\u00edn, second panel from <em>El Descubrimiento del R\u00edo Amazonas<\/em>, 1960. Photo: Cathryn Jij\u00f3n.<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Much is, of course, also different about these works, including the artists\u2019 positionalities with respect to the Amazon, the historical moment in which the paintings were completed, the geographies pictured, and the artists\u2019 material and stylistic choices. Despite these differences, having the opportunity to see Braga\u2019s monumental painting in person and learn more about the history of Par\u00e1 through MABE\u2019s collection brought many productive tensions and intersections to the surface, underscoring the value of transnational perspectives in the study of representations of the Amazon in the twentieth century.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Cathryn Jij\u00f3n, \u201c<em>El Descubrimiento del R\u00edo Amazonas<\/em>: Oswaldo Guayasam\u00edn y visiones extractivistas del r\u00edo\u201d (paper presented at The Amazon Basin as Connecting Borderland Col\u00f3quio, Bel\u00e9m, Brazil, March 24, 2025).<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Jos\u00e9 Murilo da Carvalho, \u201cDreams Come Untrue,\u201d <em>Daedalus<\/em> 129, no. 2 (Spring 2000): 65.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref2\" id=\"_ftn2\">[2]<\/a> Jessica Carey-Webb, <em>Eyes on Amazonia: Transnational Perspectives on the Rubber Boom Frontier<\/em> (Nashville: Vanderbilt University Press, 2024): 4.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Igor Gon\u00e7alves Chaves, \u201cA Funda\u00e7\u00e3o da cidade de Bel\u00e9lm inventada pelos pinceis art\u00edsticos,\u201d <em>Hydra: Revista discente eletr\u00f4nica da p\u00f3s-gradua\u00e7\u00e3o em Historia de Universidade Federal de S\u00e3o Paulo<\/em> 1, no. 1 (2016): 23.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Aldrin Moura de Figueiredo, \u201cO museu como patrim\u00f4nio, a rep\u00fablica como mem\u00f3ria: arte e colecionismo em Bel\u00e9m do Par\u00e1 (1890-1940),\u201d <em>Ant\u00edteses<\/em> 7, no. 14 (July-December 2014): 24.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#_ftnref1\" id=\"_ftn1\">[1]<\/a> Aldrin Moura de Figueiredo, \u201cEternos modernos: uma hist\u00f3ria social da arte e da literatura na Amaz\u00f4nia, 1908-1929,\u201d (PhD diss., Universidade Estadual de Campinas, 2001), 87.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Cathryn Jij\u00f3n, PhD Candidate, Art History, The Graduate Center, CUNY Entering the second-floor gallery of the Museu de Arte de Bel\u00e9m (MABE) during our museum walkthrough with historian Aldrin Moura de Figueiredo, I found myself struck by Theodoro Braga\u2019s monumental A funda\u00e7\u00e3o da cidade de Nossa Senhora de Bel\u00e9m do Par\u00e1 (The Foundation of the [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":1375,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_uag_custom_page_level_css":"","site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[28,35],"tags":[],"class_list":["post-1382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-blog-pt-pt","category-blog-pt-pt-2"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Theodoro Braga\u2019s Rubber Tree - The Amazon Basin as Connecting Borderland: Examining Cultural and Artistic Fluidities in the Early Modern Period<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/amazon.uniandes.edu.co\/pt-pt\/theodoro-bragas-rubber-tree\/\" \/>\n<meta property=\"og:locale\" content=\"pt_PT\" \/>\n<meta property=\"og:type\" 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