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
Ernesto Neto
Sem título | Untitled, 1999
Felt-tip pen and gouache/paper, 24,0 x 33,0
Antonio Hélio Cabral
Bruxe, 1992
Oil/cardboard, 100,7 x 80,6
Burle Marx
Sem título | Untitled, 1989
Acrylic/canvas, 167,1 x 207,6
Luiz Aquila
Composição, 1985
Acrylic/canvas, 100,0 x 140,0
Fábio Miguez
Sem título | Untitled, 1991
Wax and oil/canvas, 56,0 x 100,0
Tikashi Fukushima
Pintura A, 1961
Oil/canvas, 110,0 x 130,0
Maria Martins
Insônia infinita da terra, 1954
Sermolite, lead and wood, 65,0 x 78,0 x 52,0
Tatiana Blass
Poltrona, 2003
Oil/canvas, 70,0 x 90,0
Maria Tereza Louro
Ela. Três. (detalhe), 1998-99
Acrylic and graphite/canvas, 155,5 x 70,5
Ivald Granato
Viva a pintura (detalhe), 1985
Acrylic/canvas, 104,3 x 387,5
Thiago Rocha Pitta
Danäe nos Jardins de Górgona ou Saudades da Pangeia, 2011
Video, 14'56"
Márcia Pastore
Sem título | Untitled, 2000
Bronze, 83,0 x 315,0 x 35,0
Nuno Ramos
Lamentação, 1985
Oil/canvas, 230,5 x 189,2
Angelo Venosa
Sem título | Untitled, c. 1986
Bandage, plaster and tar/wood, 269,5 x 70,0 x 32,0
Paulo Monteiro
Sem título | Untitled, 1992
Gouache/paper, 70,2 x 50,0
Célia Euvaldo
Sem título | Untitled, 1990
Acrylic/paper, 67,5 x 51,0
Frida Baranek
Bolo, 1990
Iron wire and white marble rock, 80,0 x 180,0 x 130,0
Carlito Carvalhosa
Sem título | Untitled, 1987
Encaustic/wood, 135,0 x 160,0
Iberê Camargo
Vórtice-I (Vórtex I), 1973
Oil/canvas, 100 x 141 cm
Laurita Salles
Sem título | Untitled, 1995
Monotype/paper, 55,7 x 75,5
Dudi Maia Rosa
Sem título | Untitled, 1989
Fiberglass, paper, pigment and polyester resin, 150,3 x 151,6
Edith Derdyk
Sem título | Untitled, 1997
Vinyl glue and thread/paper, 121,0 x 96,5
Shirley Paes Leme
Sem título | Untitled, 1998
Soot/paper, 42,0 x 29,7
Vieira da Silva
Coucher de soleil, 1957
Oil/canvas, 81,0 x 129,0
Lucia Laguna
Estúdio nº41, 2012
Acrylic and oil/canvas, 120,2 x 120,5
Maria Bonomi
Salvo-conduto, 1970
Woodcut/rice paper, 110,2 x 94,0
Maria Polo
(Veneza, Itália 1937 - Rio de Janeiro, Brasil, 1983)
Manabu Mabe
Castelo do mar, 1983
Acrylic/canvas, 63,5 x 76,0
Fernando Lindote
Cinemáquina (detalhe), 2009
Inkjet print/paper, Dimensões variáveis
Jorge Guinle
O riacho, 1986
Oil/canvas, 200,0 x 200,0
Carlos Uchôa
Cais 2 (a escada de Jacó), 1998
Oil/canvas, 200,0 x 173,0
Antonio Bandeira
Il neige sur Notre Dame, 1962
Oil/canvas, 62,0 x 51,0
![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
Karin Lambrecht
Fragmentos da cruz negra, 2006
Aquatint, etching and drypoint/paper, 64,8 x 49,1
Leda Catunda
Couros, 1993
Acrylic/leather and canvas, 170,0 x 252,0 x 8,0
Yolanda Mohalyi
Pintura nº1, 1970
Oil/canvas, 130 x 115 cm
Rodrigo Andrade
Sem título | Untitled, 1986
Cardboard and canvas collage, synthetic emanel and oil/wood, 100,0 x 120,0
Tomie Ohtake
Sem título | Untitled, 1970
Oil/canvas, 73,0 x 92,5
Casa Roberto Marinho
Rio de Janeiro - SEP 25 TO MAR 29 2026
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - APR 24 TO JUN 22 2025
Trusteeship: Elizabeth Jobim
Casa Roberto Marinho
Rio de Janeiro - APR 24 TO AUG 10 2025
Trusteeship: Paulo Venancio Filho
Casa Roberto Marinho
Rio de Janeiro - DEC 14 TO MAR 30 2025
Trusteeship: Lauro Cavalcanti
Casa Roberto Marinho
Rio de Janeiro - AUG 15 TO NOV 17 2024
Trusteeship: Cristina Canale
Casa Roberto Marinho
Rio de Janeiro - AUG 15 TO NOV 17 2024
Trusteeship: Pollyana Quintella
Casa Roberto Marinho
Rio de Janeiro - MAY 11 TO JUL 21 2024
Trusteeship: Lauro Cavalcanti, Marcia Mello e Victor Burton
