Compared with other modernistas movements, the Brazilian was unchained delayed, in the decade of 1920. This it was the result, to a large extent, of the assimilation of cultural and artistic trends launched by the European vanguards in the period that preceded the World War I, having as example of the Cubismo and the Futurismo, reflecting, then, in the search of the abolition of all the previous rules and the search of the newness and the speed. However, it can be said that the assimilation of these European ideas was given of selective form, rearranging artistic elements in order to adjust them the Brazilian cultural singularidades to it. Literature, the architecture, design, modern painting, sculpture, theater and music are incased in this classification. The modern movement was based on the idea of that the forms ' ' tradicionais' ' of the plastic arts, literature, design, social organization and of the daily life had become exceeded, and that it became basic to leave them of side and to create in the place a new culture. This constatao supported the idea to reexamine each aspect of the existence, of the commerce to the philosophy, with the objective to find what they would be ' ' marks antigas' ' to substitute them for new forms, and possibly better, of if arriving at ' ' progresso' '. In essence, the modern movement argued that the new realities of century XX were permanent and imminent, and that the people would have to adapt its vises of world in order to accept that what was new good and beautiful age also. In Brazil, the main artifices of the modernista movement were not opposed to all previous artistic accomplishment of them. The great battle if placed against the o passadismo, that is, everything what it hindered the free creation. It can, thus, be said that the proposal modernista was of an almost complete aesthetic rupture with the thickening of the art found in the previous schools and of a magnifying of horizontes of this art before delimited by the academic standards.