If on the one hand the historical cities of the state of Minas Gerais contribute a leitmotiv for Guignard’s Brazilian output, the two canvases in question, Landscape of Sabará and Landscape of Ouro Preto, presents characteristics that do not prevail in his work, given the keener observation of the terrain features, the denser impasto, and the more austere colors typical of his works of the period 1945-1950. These canvases may be approximated effectively with the Landscape of Sabará, of 1948, conserved in the Zoé Noronha Chagas Freitas Collection, in Rio de Janeiro.

— Unknown authorship, 1998

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