Henri Nicolas Vinet
Born in Paris, he studied painting in his hometown with the famous master in the landscape genre Jean-Baptiste Camille Corot. Coming to Brazil, he settled in Rio de Janeiro in 1856. He achieved a position as a landscapist, receiving, in 1865, from the Emperor Dom Pedro II, the title of Knight of the Imperial Order of the Rose.
Nicolas Antoine Taunay
He was born in Paris. At the age of thirteen, he entered the studio of Lepicié and then of Brenet. Soon after, he studied with Casanova, painter of battles and landscapes, whom he considered his master. In 1784. He obtained a pension to study at the French Academy in Rome. He came to Brazil in 1816, part of the so-called French Mission, which would provide the neoclassical outbreak in our father and promote the founding of the Imperial Academy of Fine Arts. Here, he was one of the setters of the urban landscape of Rio during the five years that lived in that city.
He began his studies in Desterro, now Florianópolis, Santa Catarina, with the engineer Marciano Moreno. In 1847, he moved to Rio de Janeiro, enrolling in the Imperial Academy of Fine Arts. He won a prize to travel to Europe in 1853. He studied in Rome and Paris, returning to Brazil in 1861. From 1862, he began to practice teaching under the chair of Historical Painting of the Imperial Academy of Fine Arts.
Born in the city of Salvador, Rodolfo Amoedo arrived in Rio de Janeiro in 1868. Five years later, he entered the Lyceum of Arts and Crafts, and in 1874 at the Imperial Academy of Fine Arts, where he had Victor Meirelles, Agostinho da Mota and Zeferino da Costa as masters. At the School of Fine Arts in Paris - already a scholarship holder at the Academy - he perfected himself with Cabanel and Puvis de Chavantes. Back in Rio de Janeiro, he excelled in teaching as an honorary professor and later as director of the former National School of Fine Arts.
He was born in Florence. His first artistic studies were in the musical area, but the attraction for the plastic arts led him to the study painting. The interest in engraving was born from his coexistence with a group of artists who debated the validity of modern art and the reaffirmation of engraving as a work of art. It is in, above all, the didactic activity that lies the great importance of Carlos Oswald for the development of engraving in Brazil.
Le Corbusier, one of the most important architects of his time, whose work still has repercussions, was also an urbanist, painter and teacher. He was in Brazil in two different periods: the first visit was in 1929 and the second in 1936, invited by Lúcio Costa to collaborate as a consultant in the project of the headquarters building of the then Ministry of Education and Public Health.
In 1947, he graduated in Philosophy and in the same year began his classes of painting with Carlos Chambelland. In 1963, he attended the MAM Engraving Studio in Rio de Janeiro, where he learned the techniques of metal engraving with Walter Marques. He won a travel award at the Modern Art Hall in 1972 and in 1974 he studied with Denis Mazi at the Croydon College of Art in London.
His artistic initiation took place in the Brazilian Drawing Association, in Rio de Janeiro. Following that, he studied with Fayga Ostrower. From Iberê Camargo and Vera Tormenta, he received engraving lessons in metal. In 1959, he was assistant to Friedlaencer in the inaugural course of the Engraving Workshop of the Museum of Modern Art of Rio de Janeiro.
Tudo que o olhar alcança: vistas do Rio de Janeiro e de seus morros
Idealizada especialmente para o Google Art Project, 2017