Coleção de Arte da Cidade
One of the most renowned among the traveling artists from the 19th century, Johann Moritz Rugendas came to Brazil in 1821, as a draughtsman-documentary maker for the Langsdorff Expedition, sponsored by a Russian Tzar.
In 1824, Rugendas left the expedition, but continued to draw the Brazilian ethnic characters, traditions, landscapes, flora and fauna.
In Europe, he published Voyage pittoresque dans Brésil, with illustrations and watercolors based on the drawings made during his time in Brazil. The Collection includes 48 works acquired in the end of the 1930s.
The oldest art work of the Coleção de Arte da Cidade belong to Frans Post. Dated 1640.
Specialized in still life, when he was 11 years old, he helped to paint the Cathedral of Campinas. He was a pupil of Almeida Jr, studied at the Academy of Fine Arts and received a scholarship in France.
When he was nine years old, he was the drawer of the Expedition of the naturalist Jean Brunet to the Northeast region. He studied in Rio de Janeiro and received a scholarship in France. He taught at the Imperial Academy of Fine Arts.
Probably made in Italy, this brief sketch belonging to the Collection shows lines of some horses and the physiognomy of a prince with Prussian military uniform.
The artist devoted himself exclusively to painting, portraying mainly the Brazilian nature, with poetry and sensitivity. Morro do Jaraguá highlights one important landmark in São Paulo.
After living in India, Italy and Chile, the British writer Maria Graham stayed in Brazil between 1822 and 1823, when she was, when she was invited to be preceptor of the princess Maria da Glória.
A skilled artist mainly in drawing and watercolor, she left numerous landscape illustrations and notes about her wanderings around Brazil.
Almeida Jr was a pupil of Vitor Meirelles and studied received a scholarship to study in Paris. He stood out with paintings using São Paulo as main theme, where the regional luminosity and colors are highlighted.
This painting represents the agony of the Bandeirantes (settlers and explorers) from São Paulo, in a forest landscape. It integrates the set of historical paintings of the artist, specifically about the São Paulo history.
He was a pupil of Vitor Meirelles, who has helped to support his career as a historical painter. He has established his own school. He was one of the most popular painters of the First Republic.
The painting represents the foundation of the city of São Paulo, where religion was a unifying element.
Detail of the priest during the opening mass of the city.
The representation shows indigenous and whites and Indians united by their religiousness.
Preparatory drawing for the La Tasse painting, in which the creation of the nude refers to the circular shapes subject to vertical and horizontal lines, Léger-like.
The Collection covers the set of original illustrations from Tarsila do Amaral for the poems "Pau-Brasil" (1925), of Oswald de Andrade.
Tarsila brought influences from the painting studios she had visited in Paris, but she knew how to amalgamate her Brazilian roots to the formal theories of Gleizes, Lhote and Léger, who influenced her Pau-Brasil phase.
That phase was followed by the Anthropophagy phase, a movement that was more liberated from the forms and combined with the native imagination.
Writer, arts and literature critic, Sérgio Milliet took part in the Modern Art Week in São Paulo, in 1922. He was the director of the Municipal Library and created the Section of Arts, which originated this Collection. Portrait made by Tarsila.
Milliet was the director of the Museum of Modern Art and helped creating the São Paulo Biennial art show (Bienal de São Paulo), to which he was the curator. He was essential for the development and dissemination of Modern Art in Brazil.
The Section of Art founded by Milliet may be considered as one of the first modern art centers in Brazil.
Sculptor and painter of the Família Artística Paulista (São Paulo Artistic Family) he was influenced by the French Art Exhibition, and began to experiment Cézanne lessons. In this plaster, the marks of the modeling process are highlighted
The artist choose popular themes and flat painting. This work shows several coordinating scenes, confirming the narrative style: the figures are structured, the lines are continual and rounded.
"Poetry collectively assembled", that's how Paul Eluard used to define the game Exquisite Corpse (Cadavre Exquis). Here, three critics and writers try the game.
Bandeira was one of the predecessors of the Brazilian abstract painting. In this watercolor from the archives, he distributes luminosity and transparency in the small spots interconnected by the subtle nankeen drawing.
In 1946 he took part of the "Quatro Novíssimos" (Four Brand-New) Exhibition, an initial part of the "Grupo de 19 Pintores" (Group of 19 Painters). He studied in Rome and Vienna. As an engraver, we can perceive a great symbolic meaning, revealing his admiration for Doré e Goeld.
Grassmann developed an unparalleled journey with his gloomy drawings and illustrations, with very accurate technique and a mythical theme, close to the medieval imagery and woodcuts tradition.
Aldemir devoted himself to themes from the Brazilian northeast: "cangaceiros" (Northeast outlaws), "rendeiras" (Women that produce lace; weaver) and "retirantes" (migrants, refugee). After that moment, he adds new themes: cats, roosters, flowers... Over time, the forms became cleaner.
In the 1950s, Marina Caram went to Paris and made several works of lithography, working with a figuration of expressionist features, with an accumulation of graphic registrations and prismatic distortions.
The municipal collection has two newspaper Flans (Graphic Matrices), with high and bas-relief, produced by Antônio Manuel in the workshops of the O Dia newspaper, from Rio de Janeiro.
The collection also features a set of newspapers from the 1970s, with interventions that, according to the artist, were created because of a "passion for the vehicle", because it captures the immediate reality.
Aldo Bonadei joined the Santa Helena Group and was one of the first artists in the country to create abstract works. Painted still life, landscapes, images and hybrid composition.
In the paintings, specially in the landscapes, he started to investigate the composition from Cézanne, when modulating forms, distributing colors and lines creating volume and depth.
The artist questions the means, the process, the production, the market, the authorship of the work, the criticism, the institution and everything involving the context where it is made.
Clóvis Graciano took part in the Santa Helena Group and the Família Artística Paulista. Since then, his work is marked by the presence of the human figure/form and by the social issues.
This work belongs to a series made by Antônio Dias in 1970, which was essential for the development of his poetics.
José Spaniol started to work in São Paulo in the 1980s. The artist created this work for his first exhibition, which took place in the Paulo Figueiredo Gallery, in 1990.
In this monotype, instead of pencil, paintbrush or pen, Stela Barbieri uses cloth soaked in red ink, and brings to her work her constant search for different materials and procedures.
The piece of work is exposed in the CCSP, in the ramp to the subway access.
After joining the Casa 7 Group (1985), Carvalhosa created this work for an exhibition in the Paulo Figueiredo Gallery, in 1989. The material aspect of the painting paved the way to a new phase of the artist.
As a part of the Casa 7 Group, at the beginning of 1980, Paulo Monteiro presented his first individual exhibition in 1987, and in 1994, he took part in the XXII Bienal Internacional de São Paulo.
In "Anamorfas" (Anamorphous), Regina Silveira subverts the perspective systems and reinvents those codes, in order to get new possibilities of signification and questioning about the perception and the visual representation.
Anatol Wladyslaw was one of the precursors of the abstract art in Brazil. In 1952 he took part in the Ruptura (Disruption) Group, along with Luis Sacilotto and Waldemar Cordeiro. The municipal archive has a collection with 112 works from the artist.
In 1957, he leaves the geometric art and turns to the informal abstraction. In the subsequent years, his work walks back towards the figuration, where the symbolic elements prevail.
In the work, the artist uses a digital image of the CCSP to make his interventions.
Hudinilson had his first exhibition in 1976 and, since then, he had worked with a number of different supports. He was one of the pioneers of Xerography, founder of the 3NÓS3 Group and an active participant of the mail art.
Exhibition - Seção de Arte: Shaping the art collection
Curated: Divisão de Acervo, Documentação e Conservação e Curadoria de Artes Visuais
Text: Marcio Harum, Maria Adelaide Nascimento Pontes, texts from the book Coleção de Arte da Cidade: Banco Safra: 2005 from Maria Camila Duprat, Stella Teixeira de Barros
Photos: João Mussolin, Sossô Parma, Rômulo Fialdini
Google Cultural Institute Exhibition: Camila Romano, Eduardo Niero, Talita Malacrida, Luciana Nicolau
City Hall of São Paulo Fernando Haddad
Department of Culture Nabil Bonduki
Centro Cultural São Paulo | General Direction Pena Schmidt | Administrative Division Diogo Lima Oliveira and staff | Division of Curator and Programming Luciana Schwinden and staff | Division of Collection, Documentation and Conservation Eduardo Navarro Niero Filho and staff | Division Libraries Juliana Lazarim and staff | Division of Production and Support Events Luciana Mantovani and staff | Information and Communication Division Marcio Yonamine and staff | Division of Cultural and Educational Action Alexandre Araujo Bispo and staff | Project Technical Coordinator Priscilla Maranhão and staff