However, he does not visit the capital only as an artist, UNESCO chose him to be a representative of the Art Critics of Uruguay. Vernazza was not an intellectual. He did not come from any Academy. He did not see art as a theoretician but as a technician. He knew the tools, the materials, the colours, and the natural progress of how art is created. His father, Juan Bautista Vernazza, was a carver of wood. Some of Montevideo's most beautiful building facades were sculpted by him during the 1920s. Vernazza attributed a great esthetical value to his father’s work, usually considered as a craft or a minor art. He also admired those who designed the wardrobe for entertainers, like the Russian painter Léon Bakst, or those who illustrated fairy tales like the Barcelonian Freixas and the Russian Iván Bilibin. He studied the drawings that appear in fashion magazines and sometimes he designed Daisy's dresses. Rooted in tradition, Eduardo always lived with the original meaning of techné: the ability to make something well.
By the 1960s his vision had evolved, influenced by other conceptions of art: ready – made, conceptual art, installation, and postmodernist art. However, in 1999, eight years after Eduardo's death, a tendency called stuckism or remodernism appeared in Great Britain and quickly spread throughout the art world. In their Manifesto, the remodernists affirmed that artists who do not paint are not artists. Success does not consist in winning prizes but in getting up at dawn and painting. The words of these Stuckers reflect sixty years of Eduardo’s life.
Postmodernism is a theoretical approach to art. In postmodernist art a linguistic support is often necessary. Without it is impossible for the public to understand the different layers of meaning that the artist expresses.
Vernazza is far away from this position. The titles of his paintings are Clown, Dancer, Actress. Thus, they confirm the images the public sees. or they have no title. In the decade of the fifties, Vernazza refuses a position as a professor of Theory of Art at the School of Humanities and Sciences at the University of the Republic. He found it against his nature to translate drawings, paintings, and sculpture into verbal language. He never spoke about his own work. His art displays itself in silence. If he delivered concepts concerning what he does, he would destroy the mystery of this silence. The world is complex, full of noises. Is it possible to listen to the silence of a clown, a dancer or a mime? Yes, because these characters emit the cries and the music of silence. Gesture, facial expression, body language create music in the public's soul.
These words describe Vernazza’s art perfectly. However, they do not belong to him. The mime Marcel Marceau spoke this praise. Vernazza made a series of drawings of Marceau during a series of the mime's South American tours. The mime also pointed to the relationship between his work and Spanish dance. Arms up, bodies that transform the dancers into trees or beasts, and the only sound is music and stamping hard on one's feet. No words to explain what happens among the dancers. Vernazza also draws and paints some of the most important figures of Spanish dance: Carmen Amaya, Antonio Gadez, and Cristina Hoyos.
In summertime, the newspaper sent Eduardo Vernazza to Punta del Este in order for him to make sketches of life in Gorlero and the performances that are exhibited at the seaside resort. He also painted watercolours and oils. They represent lakes and woods that no longer exist. There is a Punta del Este covered with low houses surrounded by gardens. The streets are narrow and picturesque characters wonder around. This quiet villagescape has now been replaced by a Miami like mini-city. While Eduardo worked, Daisy made cloth sculptures of clowns, children and animals. She also worked with paper, aluminium, and cork in order to represent flowers, stars or just beautiful forms. During these later years, an illness interrupted the flow of Eduardo's work at El Día. But Daisy's steady inspiration and his passion for learning restored him back to health. Even while he was seriously ill he continued to work, drawing, engraving woodcuts, and painting. He took advantage of this enforced rest to pursue his research into literature and art history. These disciplines soon started leaving traces on his work. In the 1970s he started what he called rhythms: a trip through vibration and movement.
In the 1980s Eduardo's series, Candombes, become world famous. Through his drawings and paintings, Eduardo Vernazza perceived Montevidean society in its complexity: the middle class, the slums, the poor reduced to pulling carts of recyclable trash. He was distant in his relationship to politics. He attended no demonstrations or political engagements. However, through his art, he illustrated poverty and marginality. Tramps, vagabonds, and the homeless found a voice in his expressions of their suffering.
Nevertheless, in general, Vernazza approached people with a quiet sense of humour. The artist showed men and women in tenements and streets, gossiping, with arms akimbo, that his comic approach exaggerated.
Maybe these gossipers are announcing the rite of candombe. Maybe within some minutes, the ceremony will emerge from the tenements and renew the world for a while.
Candombe has its source in Africa. UNESCO considers it a humanity’s cultural immaterial patrimony. Candombe reunites theater, dance and music. It was conceived as a mockery of the coronation of African kings. Its musical center are the long, wooden drums. Around this pulsating circle the prototypical characters dance. The rite also includes pantomime with colorful Uruguayan costumes. It also reflects images of the Passion plays belonging to the Bantu and the Catholic religions. Little by little, it has become a cultural attribute of Uruguay. Under his dark or red skies, Vernazza shows the very vibration of the rite. At the same time the artist’s grace confers witty and religious traits to each character. Thus, the one who observes may mock candombe’s symbolisms and admire them simultaneously. Thus Vernazza’s humour apprehends the ceremonies's characters in a way that reunites what is visible, what is spiritual and what is mysterious. In front of Candombe and its origins, Vernazza’s art is an emotional response to a flash of Uruguay joy.
Vernazza's work on theater reflects a historical time of performance. He conveyed the mimicry, the gesture, the posture, what is temporary in itself. Thus he allows to recognize actors and, above all, conceptions concerning how to act in the 20th century. In this way, Vernazza’s art opens the possibility to recreate Uruguayan and international theatrical esthetics in Montevideo, during six decades. These features transform his work in an entry to intangible patrimony (body language, conceptions of space, ideas of gender) during a period of Uruguayan society. But, as an artist, Vernazza not only had a historical language. He also invented. He played with which is supposedly with doubt, with what the public believes concerning the time and the characters. Therefore, even if his art contains some veracity. it displays blurred, opened, images.