The essay deals with the critical reception of Oswaldo Goeldi’s ouvre between the years 1921 and 1938. For this, it remounts to two contexts in which it is possible, directly and indirectly, to catch its course. The intention is to create an interpretation that justifies the asymmetry between an artist today regarded as one of the main ones of his time and the art criticism made at the same period, especially the modernist.
