“Todos têm direito a seus retratinhos”: o carnaval de Salvador entre os estúdios da Lindemann e as páginas da Renascença

Based on the analysis of carnival portraits published in the illustrated magazine Renascença in the 1920s, when this publication became the main visual printed media in Salvador at the time, the aim of this article is to understand how the portraits not only recorded the carnival movement in Salvador, but also contributed to the production of a unique visual carnival culture that dialogued with bahiansociety, producing it and being produced by it. By analyzing the portraits considering their visual and visible aspects, we intend to discuss how the relationship between carnival, the illustrated press and the portraits produced changes and continuities in the understanding and perception of the sociocultural role of the portraits, as well as of carnival itself in production of a visual memory of bahian society.