This dissertation attempts to situate the work of Alberto da Veiga Guignard vis-à-vis the modern, that is, to shed upon it a contemporary light that repositions it problematically within the frame of Brazilian art as a whole.Guignard, over the years, ended up being rendered as the stable image of a reference value. He is, for many, the greatest Brazilian painter of our first Modernism. Nonetheless, such judgment, whether right or wrong, has in no way contributed to broaden the discussion of his work - on the contrary - it is kept in captivity as a kind of functional myth, that is, as a fact that has conveniently been already explained. Some decades ago, the Brazilian art historiography tried to rescue him from this unfavorable crystallization. Reference should be made to Ronaldo Brito, Carlos Zílio and, more recently, Rodrigo Naves, as some of those who have originated and developed such critical revision. My intention, therefore, is to resume and advance these studies in the sense of investigating, having as much as possible the works themselves as a starting point, the possibility of thinking a distinct, obscured, dislocated, deviated, at last, other modernity. Naturally, this presupposes the possibility of coexistence, in time, of multiple modernities, many times contradictory concerning the modern, which demand examination. In Guignard, it is the case that demands such hypothesis. Either we imagine a modernity marked by the experiences of the artist, or we will be doomed to reproduce, in a higher or lower degree, the totalizing frame that systematically imprisons him and undervalues him. Therefore, again, Guignard`s work is found at the center of a broader discussion - a place that, actually, it has never ceased to occupy.