The Adolpho Leirner Collection celebrates the collection of Brazilian Constructive Art from the 1950s and 60s formed by the São Paulo-based art patron, Adolpho Leirner. Stimulated by the post-World War II economic boom and a surge in modernization that sought to place Brazil at the vanguard of the region’s social and cultural development, these decades represent what was perhaps one of the most dynamic enclaves of artistic activity in the Western Hemisphere. Two paramount events defined the utopian spirit of this time: the establishment of the São Paulo Biennial in 1951 and the inauguration of Brasília, the futuristic new capital, in 1960. Energized by these unprecedented achievements, artists from the São Paulo-Rio de Janeiro axis embraced the legacies of Russian Constructivism, Dutch Neo-Plasticism, and, above all, the German School of Ulm to create the unique yet highly modulated voice of Brazilian modernism. Acquired by the Museum of Fine Arts, Houston, from 2005 to 2007, this collection has been regarded as a brilliant window into the seminal decades of modernization in Brazil.  Among the cutting-edge artists and groups represented are Lygia Clark, Hélio Oiticica, Alfredo Volpi, Grupo Ruptura, and Grupo Frente. Comprised of nearly one hundred objects, the Adolpho Leirner Collection is here presented separately in six curatorial clusters, organized thematically: Samson Flexor and Atelier Abstração, The Graphic Arts and Design, Grupo ruptura and Arte Concreta, Grupo Frente, Neo-Concretos, and The Independents. 
About Adolpho Leirner
The son of Polish Jewish immigrants who arrived in Brazil in the 1930s, Adolpho Leirner was born in 1935 in the city of São Paulo. In 1953 he went to England to study textile engineering and design. During his four-year stay, he became acquainted with the legacy of the international Constructivist movements of the first half of the 20th century. At the same time, he developed a passion for architecture and design. Upon his return to Brazil in the late 1950s, Leirner focused his attention on Brazilian decorative arts and contemporary art. In 1961 he bought the first work of what would later constitute his unique collection: Em vermelho [In Red] (1958) by the artist Milton Dacosta (1915–88). Naturally drawn to Brazilian constructivism, he noticed its disappearance from the public’s attention in the 1960s, as the emergence of figure-based trends such as Pop Art flourished. At that point, Leirner decided to concentrate his collecting efforts on Brazilian geometric abstraction. Largely through his direct contact with living artists and influential dealers, he was able to systematically gather exemplary works of these key movements in his country. As an art collector, Leirner combines both a passion for art as well as a sense of social responsibility. In a well-publicized statement about the meaning and purpose of collecting taken from his superb book, Constructive Art in Brazil: The Adolpho Leirner Collection, he describes his motto: “To collect is to nurture a love affair, a passion; it is to uncover findings in a game of search and find, all of which are part of my life.” At the same time, he underscored the ethical responsibility that comes with collecting: “...collectors understand they gather their collections not only for private fruition but for the benefit of society, and for this reason they keep and preserve them.”
Grupo ruptura and Arte Concreta
The São Paulo-based Grupo ruptura was founded in 1952 by artists Waldemar Cordeiro (1925–73), Luís Sacilotto (1924–2003), Lothar Charoux (1912–87), and Geraldo de Barros (1923–98), among others in adherence with international Concrete art. Basing their activities on the theoretical principles elaborated by the Dutch artist Theo van Doesburg in 1930 and the Swiss artist Max Bill, the Grupo ruptura promoted objectivity, seeking to exclude representation and eliminating any trace of subjectivity. In contrast, the principles of Arte Concreta—established in São Paulo in 1952—were defined more by a mathematical and geometrical logic that determined the final aesthetic form. Waldemar Cordeiro’s Idéia visível [Visible idea] (1956)—a visual ideogram featuring progressive repetition of vanishing lines that play with the viewer’s perception—illustrates the group’s use of industrial paints, modular elements, and an objective, rational approach towards the artistic structure. Luis Sacilotto’s Concreção 5942 [Concretion 5942] (1959), on the other hand, is an example of a hand-made, aluminum construction based on mathematical progressions that have come to identify the group’s impersonal brand of constructivism. In 1956 these artists were shown in the 1st National Exhibition of Concrete Art held at the Museum of Modern Art in Rio de Janeiro.
Credits: Story

The majority of the text in this exhibition appeared in the exhibition Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection, presented at the Museum of Fine Arts, Houston from May 20 to September 23, 2007. The exhibition was organized by Mari Carmen Ramírez, The Wortham Curator of Latin American Art and Director of the International Center for the Arts of the Americas.

Our sincere thanks to Adolpho Leirner, Mari Carmen Ramírez, María C. Gaztambide, Marty Stein, Matthew Lawson, Flora Brooks, and the Google Cultural Institute.

Design: Beatriz Olivetti and María Beatriz McGreger, ICAA-MFAH

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
Translate with Google