摘要：This article will approach some aspects of the art visibility in Brazil during a period that spans from colony to the 1930s.We will intent to observe the sway of historical conditions of art access towards the arrangement of the Brazilian audience in the delimited period.We mean by access a physical and intellectual practice of contact with artistic production, in which art visibility associates itself to the knowledge of visual codes in the learning process of spectatorship.We will comment the connection between audience and spaces of art visibility, the challenges represented by the new codes introduced by French Mission artists, the public exhibitions and configuration of larger audiences, and XXth century changes to art reception.
