Tomie Ohtake
Pintura nº 2, 1953
Exhibition
Eight decades of Informal Abstraction in the collections of Instituto Casa Roberto Marinho and Museu de Arte Moderna de São Paulo
Dec 07 to Jun 09
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Exhibition
Eight decades of Informal Abstraction in the collections of Instituto Casa Roberto Marinho and Museu de Arte Moderna de São Paulo
Dec 07 to Jun 09
R. Cosme Velho, 1105
Rio de Janeiro, RJ
Tomie Ohtake
Pintura nº 2, 1953
Abstract art began to be practiced in Brazil in the 1940s. Since the beginning, two lines emerged: informal abstraction and geometric abstraction. Informal abstraction is characterized by the expression of gestures by the artist, whether in the materials of painting or in sculpture; as a result, the style of each artist becomes very singular.
Geometric abstraction, on the other hand, is based on universal principles of mathematics and geometry, creating a more collective identity.
The artists who practiced informal abstraction in Brazil did not constitute permanent groups, since the singularity of each of their styles outweighed the general principles. Thus, in informal abstraction there is no school, as there is in geometric abstraction, which led to the formation of various groups such as Ruptura, Frente, and Neoconcreto. Likewise, there were no outstanding art critics who represented the informal artists, while there were those who defended geometric abstraction and accused informal abstraction of excessive subjectivism.
Nevertheless, informal abstraction sowed in Brazil an extensive field of gestural art and of the exploration of the material in the artwork. By bringing together two of the most important collections in Brazil, that of the Museu de Arte Moderna de São Paulo and that of the Instituto Casa Roberto Marinho, we evidence the longstanding power of informal abstraction throughout the last eight decades. Despite recurring attacks against the informal as well as the fads that espoused geometric art, the artists who practiced informal abstraction in Brazil evince the consistency of their unique styles, their radicality in the exploration of the artistic material, and the visual lyricism of their compositions.
We invite the public for a fresh encounter with eight decades of informal abstraction in Brazil.
Felipe Chaimovich e Lauro Cavalcanti
Jorge Guinle
O riacho, 1986
Oil/canvas, 200,0 x 200,0
Luiz Aquila
Composição, 1985
Acrylic/canvas, 100,0 x 140,0
Fernando Lindote
Cinemáquina (detalhe), 2009
Inkjet print/paper, Dimensões variáveis
Célia Euvaldo
Sem título | Untitled, 1990
Acrylic/paper, 67,5 x 51,0
Maria Tereza Louro
Ela. Três. (detalhe), 1998-99
Acrylic and graphite/canvas, 155,5 x 70,5
Vieira da Silva
Coucher de soleil, 1957
Oil/canvas, 81,0 x 129,0
Laurita Salles
Sem título | Untitled, 1995
Monotype/paper, 55,7 x 75,5
Leda Catunda
Couros, 1993
Acrylic/leather and canvas, 170,0 x 252,0 x 8,0
Rodrigo Andrade
Sem título | Untitled, 1986
Cardboard and canvas collage, synthetic emanel and oil/wood, 100,0 x 120,0
Carlos Uchôa
Cais 2 (a escada de Jacó), 1998
Oil/canvas, 200,0 x 173,0
Edith Derdyk
Sem título | Untitled, 1997
Vinyl glue and thread/paper, 121,0 x 96,5
Manabu Mabe
Castelo do mar, 1983
Acrylic/canvas, 63,5 x 76,0
Iberê Camargo
Vórtice-I (Vórtex I), 1973
Oil/canvas, 100 x 141 cm
Lucia Laguna
Estúdio nº41, 2012
Acrylic and oil/canvas, 120,2 x 120,5
Dudi Maia Rosa
Sem título | Untitled, 1989
Fiberglass, paper, pigment and polyester resin, 150,3 x 151,6
![Sem título | Untitled [da série | from the series: Corpos associados]](https://s3.glbimg.com/v1/AUTH_918e2c6c05e4446cb0b58fbddb0d35fc/icrm_assets/artists/main_images/53/original/FLAVIA_RIBEIRO.jpg?1544109115)
Flávia Ribeiro
Sem título | Untitled [da série | from the series: Corpos associados], 1995-97
China ink and golden pigment/paper, 75,0 x 175,0
Frida Baranek
Bolo, 1990
Iron wire and white marble rock, 80,0 x 180,0 x 130,0
Angelo Venosa
Sem título | Untitled, c. 1986
Bandage, plaster and tar/wood, 269,5 x 70,0 x 32,0
Burle Marx
Sem título | Untitled, 1989
Acrylic/canvas, 167,1 x 207,6
Antonio Bandeira
Il neige sur Notre Dame, 1962
Oil/canvas, 62,0 x 51,0
Tikashi Fukushima
Pintura A, 1961
Oil/canvas, 110,0 x 130,0
Fábio Miguez
Sem título | Untitled, 1991
Wax and oil/canvas, 56,0 x 100,0
Carlito Carvalhosa
Sem título | Untitled, 1987
Encaustic/wood, 135,0 x 160,0
Paulo Monteiro
Sem título | Untitled, 1992
Gouache/paper, 70,2 x 50,0
Ivald Granato
Viva a pintura (detalhe), 1985
Acrylic/canvas, 104,3 x 387,5
Ernesto Neto
Sem título | Untitled, 1999
Felt-tip pen and gouache/paper, 24,0 x 33,0
Nuno Ramos
Lamentação, 1985
Oil/canvas, 230,5 x 189,2
Tatiana Blass
Poltrona, 2003
Oil/canvas, 70,0 x 90,0
Yolanda Mohalyi
Pintura nº1, 1970
Oil/canvas, 130 x 115 cm
Maria Martins
Insônia infinita da terra, 1954
Sermolite, lead and wood, 65,0 x 78,0 x 52,0
Maria Bonomi
Salvo-conduto, 1970
Woodcut/rice paper, 110,2 x 94,0
Shirley Paes Leme
Sem título | Untitled, 1998
Soot/paper, 42,0 x 29,7
Márcia Pastore
Sem título | Untitled, 2000
Bronze, 83,0 x 315,0 x 35,0
Tomie Ohtake
Sem título | Untitled, 1970
Oil/canvas, 73,0 x 92,5
Karin Lambrecht
Fragmentos da cruz negra, 2006
Aquatint, etching and drypoint/paper, 64,8 x 49,1
Thiago Rocha Pitta
Danäe nos Jardins de Górgona ou Saudades da Pangeia, 2011
Video, 14'56"
Antonio Hélio Cabral
Bruxe, 1992
Oil/cardboard, 100,7 x 80,6
Maria Polo
(Veneza, Itália 1937 - Rio de Janeiro, Brasil, 1983)
Casa Roberto Marinho
Rio de Janeiro - AUG 25 TO NOV 12 2023
Trusteeship: Paulo Venancio Filho
Casa Roberto Marinho
Rio de Janeiro - APR 28 TO JUL 16 2023
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - APR 28 TO JUL 16 2023
Trusteeship: Alexandre Dacosta
Casa Roberto Marinho
Rio de Janeiro - APR 28 TO JUL 16 2023
Trusteeship: João Emanuel Carneiro
Casa Roberto Marinho
Rio de Janeiro - DEC 11 TO APR 02 2023
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - AUG 19 TO NOV 20 2022
Trusteeship: Max Perlingeiro
