Cabeça de Negro (1906/1906) by Arthur Timotheo da CostaAfro Brasil Emanoel Araujo Museum
The Timótheo brothers occupy a place of double-relevance in Afro-Brazilian history: that of being the precursors of the so-called modernism in Brazilian plastics...
Retrato de Homem (1900/1900) by Arthur Timotheo da CostaAfro Brasil Emanoel Araujo Museum
... and that of being the first to represent non-stereotyped ordinary black people, breaking with the references of their the time of the black always represented as a kind of “continuation of slavery”, without a voice, without a face, without a name and without an identity other than that of the forced and dominated worker.
The work “Portrait of a Black Man” by Arthur Timótheo, from 1906, can be a representation of this disruptive portrayal.
Cabeça de Negro (1906/1906) by Arthur Timotheo da CostaAfro Brasil Emanoel Araujo Museum
However, in addition to their undisputed legacies to Brazilian arts, the Timótheo brothers' history also largely reflects the context in which they lived and that is still imperative today: the context of invisibility or low visibility of black artists and intellectuals in the history of Brazil.
The insistance of being seen (2020) by PeggeAfro Brasil Emanoel Araujo Museum
Thus, the search for memories, stories and positive narratives of the legacy of black artists and intellectuals in the composition of Brazilian history, which the Timótheo brothers undoubtedly occupy a fair place of honor and recognition, becomes a pressing need.
This artwork was created inspired by the Timóteo Brothers in celebration of Black Consciousness Day in Brazil, observed on November 20th.
In this work (The insistence on being seen), the artist Pegge is inspired by the history of the Timótheo Brothers.
Representing a search for collective visibility that is still expressed today by artists such as Pegge himself.
Text and research: Douglas Araújo
Artwork: Pegge
A special collaboration between Afro Brasil Museum and Google Arts & Culture.
