In the words of Valria Marins, we have a synthesis of the workmanship of Debret, ‘ ‘ as we can conclude from the analyses made throughout this study, in its workmanship on Brazil, Debret obtained more than what its initial intention to register, in a documentary series, diverse data on the populations of Brazil of century XIX; it contributed for the construction of the imaginary Brazilian concerning its populations nativas’ ‘. Contrasting with the satirical vision of Murilo Mendes, detached in the text of Valmir de Souza, we perceive that the two artists, each one with its especificidades, has antagonistic vises on the Brazilian natives. Debret portraies the indian who accepted the culture and introjetou customs European, of romantic and pacific form, mixing them, with certain pleasantness, to its. Murilo Mendes enxerga deglutindo this European expansionista culture. The indian, for Mendes, accepted this submission, but much more for a escravagista and capitalist imposition of what for having ‘ ‘ good-vontade’ ‘ it stops with the white men. Murilo, very probably, has a more realistic vision of what it must have been, for the aboriginal population, to be massacreed and to be enslaved by the invader.
While the vision of Debret, exactly having plus a documentary intention of what critical, it shows only one certain subservincia of indian to the European. .