Malfatti's art was in no way romantic. "Her formal innovations, including Cubist planar distortions, a vibrant high-colour palette and forceful drawing, were deemed unintelligible." However, Malfatti’s art was celebrated by critics like Oswald de Andrade who had been familiar with Marinetti’s futurist manifesto in Europe and translated that to Brazilian culture because her artwork reflected true freedom of subject and style. One of the huge factors of Brazilian modernism lay in the close association between the literary avant-garde to painting and sculpture. Lucie-Smith, in "Latin American Art of the 20th Century", argues that this association prevented art from being created smoothly and progressively and furthermore provided artists with cultural, social and political responsibilities that the artists may not have been tied to. For example, Oswald de Andrade’s “"Pau-Brazil Poetry Manifesto"” argues for: