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