Aleijadinho (Ouro Preto MG 1730 - Idem 1814)
Aleijadinho, the name by which Antônio Francisco Lisboa became known, was a sculptor, architect and carver, considered the main artist in colonial Brazil. Its production is one of the most important in the Brazilian Baroque, with works that are still a reference today for historians, collectors and scholars of art.
Aleijadinho was born in Ouro Preto, Minas Gerais, on a date still debated by researchers. Traditional records indicate 1730, while documents suggest that he may have been born in 1738. He died in 1814, aged 76. He was the son of the Portuguese architect Manoel Francisco Lisboa with an enslaved African woman, a context that makes his artistic trajectory even more significant within colonial society. There are indications of the influence of artists such as Francisco Xavier de Brito and José Coelho Noronha, in addition to contact with European engravings of religious themes. These elements contributed to the development of their own style, marked by expressiveness and sculptural detailing.
Aleijadinho's name appears for the first time in documents from 1766, when he received the order from the Church of São Francisco de Assis, in Ouro Preto. After the death of his father, in 1767, he began to assume greater professional protagonism. In 1772, he joined the Irmandade de São José and, a few years later, had a son in Rio de Janeiro, Manoel Francisco Lisboa, who also became an artist.
From 1777, his life and work were profoundly impacted by a serious illness, possibly Nervous leprosy, which caused progressive physical deformities. Even so, he maintained intense artistic activity. In this period, his works began to present greater drama and expressive strength, outstanding characteristics of the Baroque of Minas Gerais.
During the 1780s, he consolidated himself as the most sought after artist in Minas Gerais, participating in important religious projects. From 1790 onwards, it reached the height of its career, with great recognition and order volume.
Aleijadinho's production is extensive and documented, with works distributed by churches and historic cities. His studio had several assistants, which allowed the realization of large-scale projects, such as the sculptural sets of Congonhas.
The highest point of his trajectory took place between 1796 and 1805, in the Sanctuary of Bom Jesus de Matosinhos, where he created one of the most important sets of Brazilian art. During this period, he produced 66 wooden sculptures representing the steps of the Passion of Christ and sculpted the famous 12 prophets in soapstone. These works consolidated Aleijadinho as the biggest name in the Brazilian Baroque and author of one of the most relevant sculptural sets in the open air in the world. of intense political, social and economic transformations in colonial Brazil of the 18th century. His trajectory is directly linked to the context of gold exploration in Minas Gerais, social tensions and the strict control exercised by the Portuguese Crown.
In the first years of life, Aleijadinho had contact with reports about the violence promoted by Governor Pedro de Almeida, responsible for actions repressive in Vila Rica. These episodes reveal a scenario marked by inequality and repression, especially against enslaved populations.
Still young, Aleijadinho experienced an environment of political instability, with rivalries between São Paulo and other groups involved in gold exploration. It also suffered the impacts of the administration of Luiz da Cunha Menezes, whose management intensified local tensions. The consequences of the conflicts between São Paulo and Emboabas were still present and influenced the social context in which the artist developed.
During his youth, Aleijadinho accompanied the growing discontent with the collection of the “fifths”, a tax that allocated part significant from gold to the Portuguese crown. With the progressive exhaustion of the deposits, this charge became even heavier for the population. In this context, the interest of the metropolis led to the transfer of the colonial administrative center to Rio de Janeiro, which redefined the economic axis of the colony.
Throughout his life, Aleijadinho also witnessed the strong performance of the clergy in Minas Gerais. Religious orders obtained authorization to explore gold and finance the construction of churches and convents, often erected with enslaved work. This scenario favored the development of sacred art, a field in which Aleijadinho stood out decisively.
Despite the conflicts, crimes and disputes between miners, religious and authorities, the region prospered economically. The then called Vila Rica de Nossa Senhora do Pilar de Albuquerque, nowadays Ouro Preto, has become a symbol of gold wealth and the main scenario of Aleijadinho's performance, where his work was consolidated as one of the greatest legacies of the Brazilian Baroque.
Aleijadinho was the invention of the Vargas government
aleijadinho remains one of the most emblematic figures in Brazilian art, but its trajectory is also the object of historiographical debates. Among the contemporary interpretations, the analysis of the researcher Dalton Sala stands out, who questions the consolidation of the artist's image as a national myth. especially in the context of the Estado Novo. In this period, the artist began to be interpreted as a symbol of Brazilian identity, representing miscegenation, overcoming and creativity in the face of adversity.
According to this perspective, the attribution of authorship to Aleijadinho is not always based on conclusive documentation. Sala argues that not all works associated with the artist have direct textual proof, which would have contributed to the construction of an expanded narrative about their production. In this context, the actions of SPHAN, created in 1937, would have been fundamental for the valorization and dissemination of figures considered representative of national culture.
In the interpretation of a room, Aleijadinho was raised to the condition of a cultural symbol, while Tiradentes assumed the political symbol role. Both would have been incorporated into the national imagination as expressions of autonomy, albeit in different spheres. The researcher points out, however, that the construction of the myth of Aleijadinho precedes the Vargas period, having been later appropriated and institutionalized. Mines. Bretas claimed to have found a manuscript dating from 1790 with information about Antônio Francisco Lisboa. However, this document, known as the Book of Records of Notable Facts of the City of Mariana, was never located, which raises questions about its authenticity and the documentary bases of the artist's biography.
The discussion about the authorship of the works attributed to Aleijadinho also involves the positioning of experts. As highlighted by Dalton Sala, art historian Germain Bazin would have revealed, in 1989, that he had suffered pressure from Rodrigo Melo Franco de Andrade and the architect Lúcio Costa to recognize certain works as authentic, even in the absence of proof definitive.
This debate shows that Aleijadinho, in addition to his indisputable artistic importance, also occupies a central place in discussions about memory, heritage and construction of Brazilian cultural identity. For researchers and scholars, understanding these multiple layers is essential for a critical and in-depth analysis of the artist's legacy.
Acróstico proves the existence of the holy-wizard, fallen
aleijadinho is widely recognized for his contribution Decisive to the Baroque Mineiro, but his work has also been the object of symbolic interpretations and readings that go beyond the aesthetic dimension. In particular, the set of prophets in the Sanctuary of Bom Jesus de Matosinhos has raised analyzes that associate their production with possible occult meanings and allegorical constructions.
Over time, hypotheses have emerged that suggest that Aleijadinho would have incorporated layers complex symbolic in his sacral iconography, reinterpreting models of the European Baroque and Rococo in its own key. These readings, however, are not consensual among art historians and must be understood as part of the interpretive field that involves his work.
Historical records indicate that, at the beginning of the 20th century, Father Júlio Engrácia, then responsible for the sanctuary in Congonhas, would have promoted interventions that reduced the visibility of elements associated with the sculptures attributed to Aleijadinho. This episode is often cited in studies that discuss preservation, authorship and critical reception of the artist over time.
One of the most widespread interpretations, although controversial, is the hypothesis of an acrostic formed by the initials of the twelve sculpted prophets. in soapstone. According to this reading, the names Abdias, Baruc, Ezequiel, Jonas, Jeremias, Amos, Daniel, Joel, Naum, Habakkuk, Hosea and Isaiah would symbolically form the name “aleijadinho”. To sustain this construction, it is argued that the use of the letters “j” with the phonetic value of “i” and the inclusion of Isaiah could have been the artist's intentional solutions. caution by experts. Still, it contributes to the perception of Aleijadinho's work as a fertile field for interpretations that articulate art, religiosity and symbolism.
The set of the twelve prophets of Congonhas, composed of four major prophets, seven minors and the figure of Baruc, remains one of the most significant achievements of Brazilian colonial art. Regardless of the symbolic readings, these sculptures consolidate Aleijadinho as a central reference in the history of art in Brazil, evidencing technical mastery, expressiveness and strong visual impact. Brazilian. His production, marked by expressive intensity and inserted in the context of colonial religiosity, remains open to new interpretations, reaffirming its relevance in contemporary artistic and cultural debate.
A cry for liberation: independence or death!
aleijadinho It is often associated with the intellectual and political context of the late 18th century in Minas Gerais, a period marked by tensions that would culminate in the Inconfidência Mineira. Although there is no direct proof of his involvement with the movement, his artistic production is sometimes interpreted in the light of the ideals of freedom and criticism of the colonial order. Inconfidence and author of the Chilean Letters, written under the pseudonym Critilo. This approach, however, must be understood as interpretive, since there is no documentary evidence that confirms direct links between the sculptor and the inconfidentes.
certain readings suggest that symbolic elements present in the works of Aleijadinho, especially in the Sanctuary of Bom Jesus de Matosinhos, could reflect knowledge of European symbolic tradition, including possible references to Masonic iconography. These interpretations are based on the analysis of gestures, postures and clothing of the sculptures, but remain in the field of hypotheses, being the object of debate between art historians. Soapstone, it is often described as a space of strong expressive load. In it, Aleijadinho articulates elements of the Baroque tradition with its own language, marked by the dramatic intensity and the ability to translate universal human experiences, such as suffering, faith and redemption.
Some symbolic interpretations attribute numerological meanings to the set of the twelve prophets, associating it with concepts of harmony and totality. These readings, although not documented, reinforce the continuous interest in Aleijadinho's work as a field of investigation that goes beyond the traditional formal and iconographic analysis.
More than possible political or esoteric associations, Aleijadinho's production stands out for its strength. expressive and for its historical relevance in the context of Brazilian colonial art. Its legacy remains fundamental for the understanding of the Baroque in Brazil and continues to mobilize researchers, collectors and scholars interested in the multiple dimensions of his work.
Aleijadinho: If an invention, so what? of historiographical debates that question not only his biography, but also the authorship of the works attributed to him. The researcher Dalton Sala raises doubts about the documentation that supports the attribution of certain sculptures to Antônio Francisco Lisboa, contributing to a critical field in expansion in the history of Brazilian art. Aleijadinho opens space for a broader reflection on the nature of art and its relationship with historical truth. Different currents of thought offer different perspectives. Positivist approaches prioritize documentary evidence, while contemporary interpretations, especially in the field of art theory, emphasize the role of reading and reception in the construction of meaning. Jesus de Matosinhos, can be understood beyond the authorial question. Congonhas sculptures maintain their aesthetic, symbolic and historical relevance regardless of the absolute confirmation of authorship, dialoguing with different times and audiences.
Aleijadinho's trajectory shows that art is not limited to factual records. Its production, inserted in the context of the Baroque Mineiro, articulates pain, faith, tension and expressiveness, constituting a legacy that goes beyond time. Just as classical works of the Western tradition continue to be reinterpreted, the sculptures attributed to the artist remain open to new critical readings.
Another relevant aspect in this debate is the very notion of authorship. In the colonial period, artistic production often involved workshops and collective processes, in which the individualization of the author was not central as it would become in modernity. The appreciation of the artist's name is linked to later cultural and economic transformations, especially from the consolidation of an art market logic.
This way, discussing Aleijadinho implies considering both the limits of historical documentation and the autonomy of artistic creation. His work continues to occupy a central place in Brazilian art, not only for its possible authorship, but for the aesthetic and symbolic power it expresses.
More than a matter of proof, Aleijadinho remains a fundamental reference for the understanding of the Baroque in Brazil. His legacy resists controversies and asserts himself as an object of study, contemplation and reflection, staying alive in the contemporary cultural and academic debate.
Artistic production
Aleijadinho has reached the height of his artistic production. At maturity, when, over sixty years old, he carried out some of his most emblematic works in Congonhas. The soapstone sculptures of the twelve prophets stand out, performed between 1800 and 1805, in the churchyard, and the 66 images in cedar wood that make up the steps of the Passion of Christ, started in 1796, at the Sanctuary do Bom Jesus de Matosinhos.
The conception of the sanctuary highlights the innovative character of Aleijadinho, who articulated architecture, sculpture and landscape in an integrated set. In the churchyard, the figures of the prophets Isaiah, Jeremiah, Baruch, Ezequiel, Daniel, Hosea, Jonas, Joel, Abdias, Habakkuk, Amos and Naum were carved in soapstone and distributed in a strategic. The gestures and postures give dynamism to the sculptures, creating the sensation of movement and dialogue, a striking feature of the Minas Gerais baroque and a central element in the observer's experience.
Along the slope that leads to the sanctuary, Aleijadinho structured six chapels, known as the Passions of the Passion of Christ. In each of them, life-size sculptural sets narrate episodes of passion, establishing a narrative sequence that combines sacred art, devotion and the faithful's participation. This route integrates urban space and religiosity, reinforcing the symbolic and sensorial dimension of the set.
All Aleijadinho's production was concentrated in Minas Gerais, a region where it acted intensely and received numerous orders throughout life. Despite recognition in his time, his work went through a period of relative oblivion after his death. The rediscovery took place in 1858, with the publication of the biography written by Rodrigo José Ferreira Bretas. Subsequently, critical recognition was consolidated in the 20th century, especially after the Week of Modern Art of 1922, when the Baroque began to be valued as a fundamental expression of Brazilian culture.
In the last years of life, Aleijadinho faced the worsening of his illness, which led him to progressive isolation. Assisted by few collaborators, he lost his vision and stopped producing. He died in 1814, in Ouro Preto, then Vila Rica, ending a unique trajectory in the history of art. His legacy, however, remains one of the most important in the Brazilian Baroque, being a continuous object of study, preservation and admiration.
Aleijadinho and baroque art
aleijadinho is recognized as one of the main exponents of Baroque art in Brazil, being a central figure for the understanding of artistic production in the colonial period. The Baroque, developed in Western Europe between the 16th and 18th centuries, is characterized by monumentality, ornamental wealth and dramatic intensity. In the 18th century, this style evolved into rococo, a lighter and more decorative language, which also influenced Aleijadinho's work.
The production of Aleijadinho dialogues with European artistic traditions adapted to the colonial context. First, the Baroque appears as a reaction to the Renaissance aesthetic, marked by balance, symmetry and formal rationality. In contrast, baroque artists explored dynamism, movement and expressiveness, using curved lines and more complex compositions to intensify the visual and emotional impact of the works.
Another relevant factor was the use of the Baroque as an instrument of affirmation of power. In Europe, absolutist monarchies resorted to artistic monumentality to express authority and grandeur, as exemplified in constructions such as the Palace of Versailles and Zwinger. This model influenced, albeit indirectly, the artistic production in the colonies, where architecture and sculpture also assumed symbolic functions of prestige and representation.
The counter-reform constitutes the third fundamental element for the understanding of the Baroque. The movement boosted an art focused on the exaltation of the Catholic faith, marked by strong emotional and didactic appeal. Churches and sculptures began to communicate religious narratives in an engaging way, a characteristic present in Aleijadinho's works, especially in their sacred sculptural ensembles. marked by the mining economy and the performance of religious brotherhoods. The Brazilian Baroque developed in this environment as one of the first artistic expressions of identity in the country. In this scenario, Aleijadinho developed his own language, which combines refined technique, dramatic expressiveness and deep religiosity.
Aleijadinho's work synthesizes, therefore, the adaptation of the European Baroque to the cultural and social conditions of colonial Brazil. Its legacy remains fundamental for researchers, collectors and scholars of Brazilian art, consolidating it as a central reference in the history of art in the country. Portuguese baroque. As a sculptor, grandiose forms were erected from which Portuguese civilization offered no equivalent, it was not for the spirit of revolution, but, on the contrary, for the awakening of the creative forces that would give the Portuguese-Brazilian civilization the great artist-poet who, after being Nuno Gonçalves, she no longer knew how to produce".
Germain Bazin
BAZIN, Germain. Aleijadinho and Baroque sculpture in Brazil. 2. ed. rev. aum. Rio de Janeiro: Record, 1963. p. 111.
"Brazil gave him his greatest artistic ingenuity, I believe. a great human manifestation. His historical function is vast and curious. genius, he crowned a life of three colonial centuries. He was of all, the only one who can be said nationally, for the originality of his solutions. psychological extension of the term. But, an already national device, it was the biggest false rumor of nationality, while characterizing the entire falsification of our civilized entity, made not of internal, natural development, which goes from the center to the periphery and becomes eccentric by expansion, but of Accommodative and irregular imports, artificial, coming from abroad, in fact Antônio Francisco Lisboa prophesied for nationality a plastic genius that the later Almeidas, so rare! They are insufficient to confirm.
On the other hand, he crowns, as a greater genius, the period in which the Brazilian entity acts under the influence of Portugal. It is the Brazilian solution of the colony. It is the mestizo and is logically the independence".
Mário de Andrade
[Text written originally in 1928 and published in the book O Aleijadinho and Álvares de Azevedo. Editora, 1935.].
ANDRADE, Mário de. Aspects of the Visual Arts in Brazil. 3. Ed. Belo Horizonte: Itatiaia, 1984. P. 41 (Complete Works by Mário de Andrade, 12).
"Antônio Francisco Lisboa was born on August 29, 1730, in the outskirts of this city, which is called Bom Sucesso, belonging to the parish of Nossa Senhora da Conceição de Antônio Dias. A natural son of Manuel Francisco da Costa Lisboa, a distinguished Portuguese architect, had an African or Creole as his mother named Isabel, a slave from the same Lisbon, who freed him on the occasion of making him baptized. raptured and the genius annoyed; The height was short, the body was full and poorly configured, the face and head were round, the forehead voluminous, the hair was black and ringed, the beard was closed and large, the forehead was wide, the nose was regular and somewhat pointed, the thick lips, the ears and short neck. He knew how to read and write and there is no record that he had attended any class other than first letters, although someone thinks it is likely that he had frequented the one in Latin.
The knowledge he had of drawing, architecture and sculpture had been obtained in his father's practical school and perhaps the designer's João Gomes Batista, who, at the Court of Rio de Janeiro, had received the lessons of the accredited artist Vieira and was employed as an opener of the gold-smelting house of this capital. After many years of work, both in this city and outside of it, under the sight and risk of his father, who until then was considered the first architect in the province, he began his career as a master of architecture and sculpture and in this capacity he exceeded all the artists of this genre who existed in his time.
Up to the age of 47, when he had a natural son to whom he gave his father the same name, he spent his life in the exercise of his art, always taking care to have a good table, and in the enjoyment of perfect health; and so much so that he was often seen taking part in vulgar dances. From 1777 onwards, the ailments from perhaps largely venereal excesses began to attack him strongly. Some claim that he had suffered an epidemic evil that under the name of zamparina had soon been raged in this province, and whose residues, when the patient did not succumb, were almost infallible deformities and paralysis: and others that had complicated the Gallic humor in him. with the scorbutic. What is certain is that either because he neglected the cure of evil at its beginning, or because of its invincible force, Antônio Francisco lost all his toes, which resulted in being able to walk only on his knees; The hands atrophied and bowed and even fell, leaving him only, still almost without movement, his thumbs and indices. the very strong pains he suffered from his fingers and the acrimony of his choleric humor sometimes led him to the excess of cutting them himself, using the chisel he worked with".
Rodrigo José Ferreira Bretas
[Text written originally in 1858 and published in the Official Post of Minas, at the numbers 169 and 170, with the title Biographical Traits related to the late Antônio Francisco Lisboa, distinguished sculptor from Minas Gerais, better known by the nickname of Aleijadinho.].
BARBOSA, Waldemar de Almeida. The Aleijadinho de Vila Rica São Paulo: Edusp; Belo Horizonte: Itatiaia, 1988. 94 p. (Reconquista do Brasil. 3. Special Series, 1).
"The fundamental contradiction between the style of the time - elegant and mannered - and the powerful impetus of his passionate and so often mystical temperament, a masterfully overcome, but latent, From time to time he overflowed - it is the indelible mark of his work, which gives him the singular tone, and makes this Brazilian from Minas Gerais the highest individualized expression of the Portuguese art of his time. It should, moreover, be pointed out that this form of Minas Gerais of Portuguese colonial art in Brazil sometimes has a greater affinity with the Baroque-Rococo of between the Danube and the Alps than with the metropolitan art that generated it.
The religiosity of the Aleijadinho grew up to the extent of his intimate relationship with hagiography and the Bible; and the isolation to which he imposed himself, as a result of the disease, resulted in a deep communion of his art with the faith. The countless sentences and verses that participate in the composition of the pulpits and altarpieces of their own are undoubtedly due to their own initiative and choice, as they do not occur in the work of any other carver."
Lucio COSTA
COSTA, Lúcio. Antônio Francisco Lisboa, the "Aleijadinho". His basic learning in the area of ornamental relief sculpture, under the direction of the Portuguese João Gomes Batista, formed in turn in Lisbon with the French artist Antoine Mengin, the Aleijadinho (1735-1814) also left important works in the field of monumental statuary and sacred imaginary, hence a large part of his reputation as the main Brazilian artist of the colonial period. In two of its gates, those of the churches of São João Batista de Barão de Cocais and São Miguel and Almas de Ouro Preto, there are niches with statues of patron saints in soapstone. Executed about thirty years before the set of the twelve prophets of the Sanctuary of Congonhas, from the period 1800-1805, these statues offer a good comparative basis for analyzing the stylistic evolution of Aleijadinho, naturalism and contained movement and something Clumsy, from the first phase of his career, to the stylization and liberation of forms in space, in the final phase. His annual receipts with the title of 'official', according to medieval tradition, still maintained in the social organization of work in the colonial era. This collaboration resulted in deformations of a different character, perceptible to a more attentive analysis, but which disappear when the spectator places himself in the ideal point of view for the view of the set, that is, frontally, about 5 meters from the access gate. This indication reveals something of the system of division of labor in force in the 'workshop' of Aleijadinho, who had reserved for himself the most important and most clearly visible parts of the statues, as well as his knowledge of one of the fundamental aspects of Baroque aesthetics, the theatrical intentionality". Myriam Andrade Ribeiro de Oliveira
OLIVEIRA, Myriam Andrade Ribeiro de Sculpture in colonial Brazil In: The magical universe of the Brazilian Baroque. São Paulo: SESI, 1998. p. 131.
Cerves
Acervo Banco Itaú S.A. - São Paulo SP
Chapel of the Third Order of Saint Francis of Assisi - São João del Rei MG
Church of the Assumption of Our Lady - Mariana MG
Church of the Third Order of São Francisco de Assis - São João del Rei MG
Church of the Third Order of Carmo - Ouro Preto MG
Church of Our Lady of Mercês and Perdões - Ouro Preto MG
Church of Nossa Senhora do Carmo - Ouro Preto MG
Church of Nossa Senhora do Pilar - Ouro Preto MG
Church of São Francisco de Assis - Ouro Preto MG
Church of Carmo - Sabará MG
Church of the Rosary - Santa Rita Durão MG
Igreja Matriz de Nossa Senhora do Bom Sucesso - Caeté MG
Santo Antônio Matrix - Tiradentes MG
Matrix of São João Batista - Barão de Cocais MG
Sanctuary of Bom Jesus de Matosinhos - Congonhas do Campo MG
Postomy exhibitions
1961 - São Paulo SP - Baroque in Brazil, at MAB/FAAP
1978 - Rio de Janeiro RJ - Individual, at MAM/RJ
1979 - Belo Horizonte MG - 6th Global Winter Hall, at the Foundation Clóvis Salgado
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, at the Bienal Foundation
1988 - São Paulo SP - The Afro-Brazilian Hand, at MAM/SP
1997 - Brasília DF - Baroque heritage, at the Itamaraty Palace
1997 - São Paulo SP - Baroque heritage, at MAB/FAAP
1998 - São Paulo SP - 24th São Paulo International Biennial, at the Bienal Foundation
1998 - São Paulo SP - The magical universe of the Baroque, at the Sesi Art Gallery
1999 - Paris (France) Ville de Paris
2000 - Rio de Janeiro RJ - Antônio Francisco Lisboa, O Aleijadinho: What we see and what we know, in the MNBA
2000 - Rio de Janeiro RJ - Brazil + 500 Rediscovery Show. Baroque Art, at MNBA
2000 - São Paulo SP - Brazil + 500 Rediscovery Show, at the Bienal Foundation
2000 - São Paulo SP - Renato Whitaker Collection, at the Antiqueurs Restaurant
2001 - Itu SP - Aleijadinho: What we see and what we know
2001 - New York (United States) - Brazil: Body and Soul, at Solomon R. Guggenheim Museum
2001 - São Paulo SP - Brazilian Art Museum: 40 years old, at MAB/FAAP
2002 - Rio de Janeiro RJ - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, at the CCBB
2002 - Rio de Janeiro RJ - Baroque at the National Museum of Fine Arts, at MNBA
2002 - Salvador BA - Aleijadinho, at the Museum of Sacred Art
2002 - São Paulo SP - Aleijadinho and Mestre Piranga: Images from the Renato Collection Whitaker, at the Pinacoteca do Estado
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2003 - Brasília DF - Brazilian art in the Fadel collection: From the restlessness of the modern to the autonomy of language, at the CCBB
2003 - São Paulo SP - Tomie Ohtake in the spiritual plot of Brazilian art, at the Tomie Ohtake Institute
2004 - Rio de Janeiro RJ - Tomie Ohtake in the spiritual plot of Brazilian art, in the MNBA
