Antonio Henrique Amaral (São Paulo SP 1935 - São Paulo SP 2015)
Antonio Henrique Amaral was a painter, printmaker and draftsman. He began his artistic training in 1952 at the school of the Museu de Arte de São Paulo Assis Chateaubriand (Masp), under Sambonet (1924–1995). In 1956, he furthered his studies in printmaking with Lívio Abramo (1903–1992) at the Museu de Arte Moderna de São Paulo (MAM/SP). In 1958, he traveled to Argentina and Chile, where he exhibited his works and met the poet Pablo Neruda (1904–1973).
In 1959, he traveled to the United States, where he studied printmaking at the Pratt Graphics Center in New York. Upon returning to Brazil in 1960, he worked as an assistant at Galeria Bonino in Rio de Janeiro and met important figures in Brazilian art, such as Ivan Serpa (1923–1973), Candido Portinari (1903–1962), Antonio Bandeira (1922–1967), Djanira (1914–1979), and Oswaldo Goeldi (1895–1961). Alongside his artistic career, he worked as an advertising copywriter.
Early in his career, he produced drawings and prints strongly influenced by surrealism. From the second half of the 1960s onward, his work began to incorporate a more incisive social critique, using elements of popular printmaking and mass culture, and approaching the aesthetics of pop art. In 1967, he released the album of colored woodcuts O Meu e o Seu (Mine and Yours), with an introductory text by Ferreira Gullar (1930 - 2016) and a cover by Rubens Martins, in which he denounced the authoritarianism prevailing in the country.
From this period on, he devoted himself primarily to painting. In 1971, he was awarded the foreign travel award of the Salão de Arte Moderna do Rio de Janeiro, which took him back to New York. He returned to Brazil in 1981, continuing his artistic production.
Critical Commentary
Known primarily for the series of paintings centered on Bananas, created from 1968 to 1975, Antonio Henrique Amaral begins his artistic career with drawing and printmaking. His apprenticeship with the printmaker Lívio Abramo (1903-1992) was fundamental to his artistic training, as it teaches him to impose discipline on his lines. From the master, he retains only the technique. His style, which already displays a considerable surrealist vein, is inspired by artists such as Roberto Matta (1911 - 2002), Paul Klee (1879-1940), Joan Miró (1893-1983), among others, from whom he absorbs the balance between psychic automatism and formal rigor.
Political and cultural changes mark his work in the 1960s, which begins to incorporate elements of popular printmaking and figuration drawn from mass culture, such as advertising and graffiti. Violence, sex, and politics are themes addressed through the recurring use of images of generals and mouths. From this period, the album of seven colored woodcuts O Meu e o Seu (Mine and Yours, 1967) stands out, in which he succinctly reveals the issue of the internalization of authoritarianism.
The search for symbols that evoke a situation, whose meanings are constructed and reiterated throughout their appearances, is a constant in Antonio Henrique Amaral's work. While he initially chose mouths and the figure of the general, also present in his early paintings from the mid-1960s, it is in the representation of the banana, or through it, that the artist manages to concentrate all his dissatisfaction with the historical moment. An inverted index of a national identity, the figure of the banana is depicted in various situations: alone and in bunches, pierced by ropes, knives or forks, ripe, green, or rotten. As a metaphor, the banana refers both to the military dictatorship and to Brazil's position within the group of democratic countries, to "being" Brazilian at the time of the slogan "Brazil, love it or leave it", while at the same time resuming a modern tradition of representing the national character that begins with the banana tree in Tropical (1917), by Anita Malfatti (1889 - 1964), passing through the painting A Negra (1923), by Tarsila do Amaral (1886 - 1973), and Bananal (1927), by Lasar Segall (1891 - 1957). In his almost fantastical "hyperrealism," with photographic framing and heavy use of cross-sections and close-ups, Amaral also revisits a specific tradition of still life painting, including artists such as Albert Eckhout (ca. 1610 - ca. 1666) and Rufino Tamayo (1899-1991).
Over the years, Antonio Henrique Amaral uses other symbolic figures in his paintings, creating series based on forks, bamboo, enormous breasts and torsos, and stylized forests and cities. In rotation, these symbols acquire "new meanings based on the interconnection of phases and eras of his painting and the relationship of his work to the reality of the country and the world."1
Notes
1 Morais, Frederico. In: Antônio Henrique Amaral: obra em processo. São Paulo: DBA, 1997. p. 57.
Critiques
"At the time Amaral painted the bananas, they became an explicit symbol for the individual subjected to arbitrary acts, appearing tied and hung by ropes, or attacked and pierced with forks and other blunt instruments. Such was the vigor of this painting, such the effectiveness of the symbol, that Amaral came to be associated, as a painter, with bananas, just as Volpi was with the little flags and Di Cavalcanti with the mulatas. Three inattentive and imprecise simplifications.
In Amaral's case, the reading of his work became stereotyped as a denunciation of a specific political and urban violence, to the detriment of even the appreciation of the pure pictorial phenomenon. (And yet, it is because of this, and not themes or engagements, that the quality and permanence of a work of art are established.) The banana was a clue, yes, but it didn't exhaust the author's complexity and totality. The broad, all-encompassing Brazilianness has been somewhat forgotten, something he doesn't seek, strictly speaking, as an articulated project (in the manner, for example, of a Rubem Valentim), but which is found, by force, behind, or at the core of, his entire production. Less attention has been paid to canvases from the 1970s (during the period of exception, therefore) in which Amaral delves into other plant-based signs without a metaphorical urban interpretation: bamboo groves, cerrados, and/or super-enlarged details of stems, leaves, and thorns, resulting in a lush plastic weave, impenetrable yet dynamic, wild and Amazonian".
Olívio Tavares de Araújo
AMARAL, Antonio Henrique. Amazônia "a mata". São Paulo: Galeria do Memorial, 1992.
"Amaral occupies a prominent place in the history of 20th-century Brazilian art. His links with the Modernism of the past are obvious. His family associations with Tarsila do Amaral are far less significant than the aesthetic and creative affinities he shares with her work. On the one hand, Amaral is a master of the figurative, but at the same time, there is an element in him that connects him to the Constructivist impulse, so powerful in Brazilian art and in that of many other Latin American countries. (...) I have also mentioned Amaral's work in reference to the art of the heroic generation of Concrete and Neo-Concrete artists who flourished in the 1950s and 1960s. Some readers may be surprised by my insistence on this connection. Superficially, at least, Amaral's exuberant and colorful canvases and drawings seem to represent a sensibility quite distant from that of artists such as Clark, Pape, Franz Weissmann, Ivan Serpa, Rubem Valentim, Waldemar Cordeiro, and others. However, Constructivism is not far removed from the world of aesthetic themes addressed by Amaral. A close reading of his works always reveals a strong awareness of geometric form. The volumetric substance and weight vary considerably from one canvas to the next. However, one of the most consistent characteristics of Amaral's paintings is his interest in outlining and shading to create structures (both representational and non-objective) that appear to be interconnected with the forms that accompany them, creating an architectural whole within the canvas. (...)".
Edward J. Sullivan, 1993
SULLIVAN, Edward J., MILLIET, Maria Alice. Obra em processo: Antonio Henrique Amaral. São Paulo: DBA, 1996.
"Before the canvas, the artist knows that it is not enough to reproduce or invent forms; his tension/intention exists because he is concerned with the sensory economy of images. Making visible means capturing the intensity of things and not taking the visible as the object of painting and representation as its end. This principle, enunciated by Klee, calls into question figurative art as mimesis, a simple copy of what is seen. The question immediately arises: could there be an art exclusively submissive to the world of appearances? Modern art sought to escape this submission by turning its back on the conventions that governed representation. In this escape, it took two paths: one, which radically refuses subordination to the referent, abstraction; the other, which moves toward the figure. When painting embraces the figure, it is the figural, not the figurative, that is realized.
The order of the figural (conceptualized by Lyotard) keeps the door open to desire, disordered, chaotic in its greed for satisfaction. From this connivance arises all kinds of transgression: the deformation and deconstruction of the object, the rupture of narrative logic, nonsense, the subversion of pictorial space. These procedures resist any codification".
Maria Alice Milliet
MILLIET, Maria Alice. Verso e reverso da figura. In: SULLIVAN, Edward J., MILLIET, Maria Alice. Obra em processo: Antonio Henrique Amaral. São Paulo: DBA, 1996. p. 82.
Testimonials
"When I was 25, or nearly so, I saw two stages of creation: one was the revelation of certain ideas through sketches. Those notes, the plans for the prints, that search for certain images that came out in graphite on paper. Then I realized that, as I executed them, not only did the sketch change, but I also met the resistance of the material. My technical limitations, the paper, the ink, the brush, which I had to learn to handle, the burin I had to drive into the wood; at that time, I thought there were two creations: one emotional and the other technical; two stages of creativity. I revealed the images to myself. Next, through the action of the material, these ideas underwent changes. These were recreations, and from them came the definitive form. (...)
When I was in my early twenties, my images were much more subjective than my contact with the objective world. They were those first drawings, monstrous figures. Then came the abstract forms, of an expressionist kind, the lyrical watercolors, etc. This was very much a reflection of my inner world, at a moment that was first very fantastical, surrealist, and then, in the 1950s/60s, abstract. I did well expressing my inner world through this type of form, and with a very loose drawing, without any concern for portraying objective reality. My work became frankly descriptive after the military coup of 1964. (...)
I think every work of art has a political relationship; artistic activity is a political activity. In my case, I became frankly explicit. I made a point of becoming almost pamphleteering. (...)
(It is) the series of prints of the generals, the album O Meu e o Seu, and the whole sequence of satirical prints, of a social nature, recording an anomalous situation we were living through. Then I began the banana phase. (...)
My concern, even when I was making social satires, was with language. I was learning printmaking, watercolor, drawing, beginning to work with paint. I even made paintings of these generals too. Language is important, and that is something we are always learning. But there is also no way to make art without seeking mastery of the material used. (...)
At 23, I dropped out of law school in the final year, because I already knew I was not going to be a lawyer. I take a suitcase with forty prints and go to Argentina, then Chile, where I hold several exhibitions. In 1958, I had already exhibited at the MAM in São Paulo, and in 1959 I was exhibiting at the gallery of the Pan American Union in Washington. In New York, I studied printmaking for six months with the Japanese master Shiko Munakata. I made prints twelve hours a day, not least because I didn't know what else to do. (...)
When I was 16, I studied at the school of the Museu de Arte with Roberto Sambonet. Encouraged by Marcelo Grassmann and Aldemir Martins, who looked at my drawings and told me to keep going; that was fundamental. Besides Picasso, who was the father of us all. Lívio Abramo was my first printmaking teacher and then Shiko Munakata (...).
The album O Meu e o Seu meant color in printmaking and also the step I managed to take, living from art. It was my act of love with art, it became my life, after seven years working in advertising and public relations".
Antonio Henrique Amaral, 1986
ANTONIO HENRIQUE AMARAL. Obra sobre papel 30 anos. Campinas: Museu de Arte Contemporânea, 1986.
Collections
Acervo Artístico-Cultural dos Palácios do Governo do Estado de São Paulo - São Paulo SP
Archer M. Huntington Gallery, Texas University - Austin (United States)
Art Museum of the Americas - Washington D.C (United States)
Casa de Las Américas - Havana (Cuba)
El Colegio de México - Mexico City (Mexico)
Fundação Biblioteca Nacional - Rio de Janeiro RJ
Instituto de Arte Moderno - Santiago (Chile)
Latin American Art Collection / Essex University - Essex (England)
Metropolitan Museum of Art - New York (United States)
Museo de Arte Americana - Maldonado (Uruguay)
Museo de Arte Moderno - Mexico City (Mexico)
Museo de Arte Moderno de Bogotá - Bogotá (Colombia)
Museo Nacional de Arte - La Paz (Bolivia)
Museo Rayo - Roldanillo (Colombia)
Museu de Arte Brasileira da Fundação Armando Álvares Penteado - FAAP - São Paulo SP
Museu de Arte Contemporânea da Universidade de São Paulo - MAC/USP - São Paulo SP
Museu de Arte Contemporânea de Campinas - Campinas SP
Museu de Arte Contemporânea de Niterói - MAC/Niterói - Niterói RJ
Museu de Arte da Pampulha - Belo Horizonte MG
Museu de Arte do Paraná - Curitiba PR
Museu de Arte Moderna de São Paulo - MAM/SP - São Paulo SP
Museu de Arte Moderna do Rio de Janeiro - MAM/RJ - Rio de Janeiro RJ
Museu Nacional de Belas Artes - MNBA - Rio de Janeiro RJ
Museum of Contemporary Art - Skopje (Macedonia)
Parlamento Latino Americano - Memorial da América Latina - São Paulo SP
Pinacoteca do Estado de São Paulo - Pesp - São Paulo SP
Solo Exhibitions
1958 - Santiago (Chile) - Antonio Henrique Amaral: Prints, at Universidad de Concepción
1958 - Santiago (Chile) - Antonio Henrique Amaral: Prints, at Instituto de Arte Moderno de Chile
1958 - São Paulo SP - Antonio Henrique Amaral: Prints, at MAM/SP
1959 - Washington (United States) - Solo, at Pan American Union
1960 - Rio de Janeiro RJ - Solo, at Petite Galerie
1960 - São Paulo SP - Solo, at Galeria Antigonovo
1963 - Buenos Aires (Argentina) - Solo, at Galeria Saber Vivir
1963 - São Paulo SP - Solo, at Galeria Mobilinea
1967 - São Paulo SP - Solo, at Galeria Astréia
1967 - São Paulo SP - Solo, at Galeria Mirante das Artes
1968 - São Paulo SP - Solo, at Associação dos Amigos do MAM/SP
1969 - Rio de Janeiro RJ - Solo, at Galeria do Hotel Copacabana Palace
1969 - São Paulo SP - Solo, at Galeria Astréia
1970 - Cochabamba (Bolivia) - Solo, at Centro Pedagógico Y Cultural Portales
1970 - La Paz (Bolivia) - Solo, at Galeria Círculo 3
1971 - London (England) - Solo, at Elvaston Gallery
1971 - Rio de Janeiro RJ - Solo, at Galeria Bonino
1971 - Washington (United States) - Solo, at Pan American Union
1972 - Brasília DF - Solo, at Galeria Oscar Seraphico
1972 - Geneva (Switzerland) - Solo, at Galerie du Théatre
1972 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1973 - Bogotá (Colombia) - Solo, at Galeria San Diego
1974 - New York (United States) - Solo, at Lee Ault & Co. Gallery
1975 - Birmingham (England) - Solo, at Birmingham Museum of Art
1975 - Nashville (United States) - Solo, at Nashville Fine Arts Center
1975 - Rio de Janeiro RJ - Solo, at Galeria Bonino
1975 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1976 - Mexico City (Mexico) - Solo, at Museo de Arte Moderno
1976 - San Salvador (El Salvador) - Solo, at Patronato Pró-Cultura
1976 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1977 - Porto Alegre RS - Solo, at Galeria Guignard
1977 - Rio de Janeiro RJ - Solo, at Galeria Bonino
1978 - New York (United States) - Solo, at Lee Ault & Co. Gallery
1979 - Mexico City (Mexico) - Solo, at Juan Martín Gallery
1979 - New York (United States) - Solo, at Cayman Gallery
1979 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1980 - Miami (United States) - Solo, at Forma Gallery
1980 - Rio de Janeiro RJ - Solo, at Galeria Bonino
1980 - São Paulo SP - Solo, at Galeria Luisa Strina
1981 - São Paulo SP - Solo, at Grifo Galeria de Arte
1983 - Caxias do Sul RS - Solo, at Galeria da Universidade de Caxias do Sul
1983 - Porto Alegre RS - Solo, at Galeria Tina Presser
1983 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1984 - Ottawa (Canada) - Solo, at National Arts Center
1985 - Porto Alegre RS - Solo, at Margs
1985 - Rio de Janeiro RJ - Solo, at Paço Imperial
1985 - São Paulo SP - Solo, at Galeria de Arte São Paulo
1986 - Campinas SP - Antonio Henrique Amaral: Work on Paper - 30 Years, at MAC/Campinas and at Galeria do Instituto de Artes da Unicamp
1986 - São Paulo SP - Antonio Henrique Amaral: Work in Progress 1956-1986, at MAM/SP
1986 - São Paulo SP - Antonio Henrique Amaral: Work on Paper, at Galeria Montesanti Roesler
1986 - São Paulo SP - Antonio Henrique Amaral: Works on Paper, at Galeria Montesanti Roesler
1987 - Rio de Janeiro RJ - Solo, at Montesanti Galleria
1987 - São Paulo SP - Solo, at Galeria Montesanti Roesler
1988 - Coral Gables (United States) - Antonio Henrique Amaral: paintings 1980 - 1988, at Opus Gallery
1988 - Miami (United States) - Antonio Henrique Amaral: paintings 1980-1988, at Opus Gallery
1989 - Coral Gables (United States) - Solo, at Elite Fine Arts Gallery
1991 - Los Angeles (United States) - Parallels and Divergence/One Heritage: two paths
1991 - Washington D.C. (United States) - Parallels and Divergence/One Heritage: two paths, at Kimberly Gallery
1992 - Coral Gables (United States) - Solo, at Elite Fine Arts Gallery
1992 - Miami (United States) - Antonio Henrique Amaral: recent works, at Elite Fine Art Gallery
1992 - São Paulo SP - Amazônia "A Mata" (Amazonia "The Forest"), at Galeria do Memorial da América Latina
1993 - São Paulo SP - Solo, at MAM/SP
1993 - Zurich (Switzerland) - Solo, at Galerie Andy Illien
1994 - Berlin (Germany) - Solo, at Haus der Kulturen der Welt
1994 - Coral Gables (United States) - Solo, at Elite Fine Arts Gallery
1994 - Frankfurt (Germany) - Solo, at Künstlerhaus Mousonturm Frankfurt am Main GmbH
1994 - Miami (United States) - Solo, at Elite Fine Art Gallery
1996 - Miami (United States) - Solo, at Elite Fine Art Gallery
1997 - Berlin (Germany) - Solo, at Virtualitas Galerie
1997 - Poços de Caldas MG - Antonio Henrique Amaral: From Printmaking to Painting, at Casa da Cultura de Poços de Caldas
1997 - São Paulo SP - Antonio Henrique Amaral: From Printmaking to Painting, at Instituto Moreira Salles
1997 - São Paulo SP - Antonio Henrique Amaral: Recent Work, at Masp
1997 - São Paulo SP - Antonio Henrique Amaral: Work on Paper, at Dan Galeria
2000 - São Paulo SP - Divertimentos (Recent ... Works), at Galeria Nara Roesler
2002 - São Paulo SP - Antonio Henrique Amaral: Paintings 2001-2002, at Galeria Nara Roesler
2004 - São Paulo SP - Solo, at MAM/SP
Group Exhibitions
1957 - São Paulo SP - 6th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1958 - São Paulo SP - 7th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1959 - São Paulo SP - 5th Bienal Internacional de São Paulo, at MAM/SP
1960 - São Paulo SP - 9th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1961 - São Paulo SP - 10th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1961 - São Paulo SP - 6th Bienal Internacional de São Paulo, at MAM/SP
1962 - Buenos Aires (Argentina) - First Latin American Engraving Contest
1962 - Curitiba PR - Paraná Salon, at Biblioteca Pública do Paraná
1962 - São Paulo SP - 11th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1963 - London (England) - Brazilian Art Today, at Royal College of Arts
1963 - Vienna (Austria) - Brazilian Art Today, at Angewandt Kunst
1963 - Brussels (Belgium) - Brazilian Art Today
1963 - São Paulo SP - 7th Bienal Internacional de São Paulo, at Fundação Bienal
1963 - São Paulo SP - 1st Exhibition of Young National Drawing, at Faap
1963 - São Paulo SP - 12th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1964 - Belo Horizonte MG - 1st Exhibition of Young National Drawing, at MAP
1965 - London (United Kingdom) - Brazilian Art Today, at Royal Academy of Arts
1966 - Bonn (Germany) - Brasilianische Kunst Heute
1966 - Bonn (Germany) - Brazilian Art Today, at Beethovenhalle
1966 - Salvador BA - 1st National Biennial of Visual Arts - acquisition prize
1966 - São Paulo SP - 15th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1967 - Brasília DF - 4th Federal District Salon of Modern Art, at Teatro Nacional de Brasília
1967 - Curitiba PR - 24th Paraná Salon of Fine Arts, at Biblioteca Pública do Paraná - 2nd prize in printmaking
1967 - Santiago (Chile) - 3rd American Printmaking Biennial, at Museo de Arte Contemporáneo
1967 - São Paulo SP - 1st Young Contemporary Art, at MAC/USP
1967 - São Paulo SP - 9th Bienal Internacional de São Paulo, at Fundação Bienal
1968 - Campinas SP - 4th Contemporary Art Salon, at MACC
1968 - Campo Grande MS - 28 Artists from the MAC/USP Collection, at Galeria do Diário da Serra
1968 - Curitiba PR - 25th Paraná Salon, at Biblioteca Pública do Paraná - 1st prize
1968 - Havana (Cuba) - International Art Exhibition - award winner
1968 - Rio de Janeiro RJ - 17th National Salon of Modern Art, at MAM/RJ
1968 - São Paulo SP - 17th São Paulo Salon of Modern Art
1969 - Fortaleza CE - 28 Artists from the Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Centro de Artes Visuais Raimundo Cela
1969 - Rio de Janeiro RJ - 18th National Salon of Modern Art
1969 - Rio de Janeiro RJ - Salão da Bússola, at MAM/RJ
1969 - Santo André SP - 2nd Santo André Contemporary Art Salon, at Paço Municipal
1969 - São Paulo SP - 1st São Paulo Salon of Contemporary Art, at Masp
1969 - São Paulo SP - 3rd Young Contemporary Art, at MAC/USP
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1970 - Rio de Janeiro RJ - 19th National Salon of Modern Art, at MAM/RJ
1970 - São Paulo SP - 2nd Panorama of Current Brazilian Art, at MAM/SP
1970 - São Paulo SP - 4 Groups of Recent Acquisitions and Donations from the International Society of Plastic and Visual Art, at MAC/USP
1970 - São Paulo SP - Antonio Henrique Amaral, Odetto Guersoni, Tomie Ohtake, Pedro Tort, Gerda Brentani, at Galeria Alberto Bonfiglioli
1970 - São Paulo SP - Pinacoteca do Estado de São Paulo 1970
1971 - Paris (France) - Salon d'Automne, at Grand Palais
1971 - Rio de Janeiro RJ - 20th National Salon of Modern Art
1971 - São Paulo SP - 5th Young Contemporary Art, at MAC/USP
1972 - Havana (Cuba) - Exposición de Arte Internacional
1972 - Medellín (Colombia) - 3rd Medellín Biennial, at Museo de Antioquia
1972 - Rio de Janeiro RJ - 21st National Salon of Modern Art - foreign travel award
1972 - Santiago (Chile) - 3rd Bienal Latino-Americana del Grabado - honorable mention
1972 - São Paulo SP - Art/Brazil/Today: 50 Years Later, at Galeria da Collectio
1972 - São Paulo SP - 2nd International Printmaking Exhibition, at MAM/SP
1973 - Boston (United States) - Contemporary Latin American Art, at Universidade de Massachusetts
1973 - New York (United States) - Latin American Painting, at Queen Cultural Center
1973 - São Paulo SP - 5th Panorama of Current Brazilian Art, at MAM/SP
1973 - Washington (United States) - Homage to Picasso, at Pan American Union
1975 - New York (United States) - Group Show, at Lee Ault & Co. Gallery
1976 - Cali (Colombia) - 3rd American Biennial of Graphic Arts, at Museo de Arte Moderno La Tertulia
1976 - Campinas SP - 10th Campinas Contemporary Art Salon, at MACC
1976 - Florida (United States) - Latin American Horizons
1976 - São Paulo SP - 7th São Paulo Salon of Contemporary Art, at Paço das Artes
1976 - São Paulo SP - 8th Panorama of Current Brazilian Art, at MAM/SP
1977 - Madrid (Spain) - Current Ibero-American Art, at Instituto de Cultura Hispânica
1977 - Rio de Janeiro RJ - 2nd Arte Agora: Vision of the Land, at MAM/RJ
1978 - Caracas (Venezuela) - 1st Ibero-American Meeting of Artists and Critics, at Fundación Museo de Bellas Artes
1978 - São Paulo SP - 1st Latin American Biennial of São Paulo, at Fundação Bienal
1979 - São Paulo SP - 11th Panorama of Current Brazilian Art, at MAM/SP
1980 - São Paulo SP - 12th Panorama of Current Brazilian Art, at MAM/SP
1981 - Mexico City (Mexico) - Visual Arts and Identities of Latin America
1981 - Curitiba PR - 3rd National Drawing Show - acquisition prize
1981 - La Paz (Bolivia) - Contemporary Latin American Art
1981 - Osaka (Japan) - Latin American Exhibition of Contemporary Art Brazil/Japan, at National Museum of Art
1981 - Rio de Janeiro RJ - From the Modern to the Contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1981 - Rio de Janeiro RJ - Pablo, Pablo!: A Brazilian Interpretation of Guernica, at Funarte
1981 - São Paulo SP - Contemporary Brazilian Artists, at Escritório de Arte São Paulo
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (United Kingdom) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - São Paulo SP - 3rd Brazilian Art Salon, at Fundação Mokiti Okada M.O.A.
1982 - Rio de Janeiro RJ - 3rd Brazilian Art Salon
1982 - Tokyo (Japan) - 3rd Brazilian Art Salon
1982 - Atami (Japan) - 3rd Brazilian Art Salon
1982 - Kyoto (Japan) - 3rd Brazilian Art Salon
1983 - Maldonado (Uruguay) - 5th International Drawing Biennial - Ten Years of the Biennial Prize
1983 - Merida (Venezuela) - Exhibition Commemorating the Simón Bolívar Bicentennial, at Corporación de Los Andes
1983 - Rio de Janeiro RJ - 6th National Salon of Visual Arts, at MAM/RJ
1983 - São Paulo SP - 14th Panorama of Current Brazilian Art, at MAM/SP
1983 - São Paulo SP - Art in the Street
1984 - Curitiba PR - 6th Curitiba City Printmaking Show
1984 - Curitiba PR - Woodcut in the History of Brazilian Art, at Casa Romário Martins
1984 - Curitiba PR - Simões de Assis Galeria de Arte: Inaugural Exhibition, at Simões de Assis Galeria de Arte
1984 - Fortaleza CE - 7th National Salon of Visual Arts
1984 - Havana (Cuba) - 1st Havana Biennial
1984 - Ottawa (Canada) - Antonio Henrique Amaral and Siron Franco, at National Arts Center
1984 - Ribeirão Preto SP - Brazilian Printmakers of the 1950s/60s, at Galeria Campus USP-Banespa
1984 - Rio de Janeiro RJ - Woodcut in the History of Brazilian Art, at Funarte. Galeria Sérgio Milliet
1984 - Rio de Janeiro RJ - 7th National Salon of Visual Arts, at MAM/RJ
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Atami (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1985 - Kyoto (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1985 - Rio de Janeiro RJ - 7th Brazil-Japan Fine Arts Exhibition, at Fundação Brasil-Japão
1985 - São Paulo SP - 18th Bienal Internacional de São Paulo, at Fundação Bienal
1985 - São Paulo SP - 7th Brazil-Japan Fine Arts Exhibition, at Fundação Brasil-Japão
1985 - Tokyo (Japan) - 7th Brazil-Japan Fine Arts Exhibition
1985 - Tokyo (Japan) - Today's Art of Brazil, at Hara Museum of Contemporary Art
1986 - Curitiba PR - 7th Brazilian Drawing Show, at MAC/PR
1986 - Rio de Janeiro RJ - 1st Christian Dior Contemporary Art Show: Painting, at Paço Imperial
1986 - São Paulo SP - 17th Panorama of Current Brazilian Art, at MAM/SP
1986 - São Paulo SP - The URBS in the Vision of Eight Artists, at Galeria Montesanti Roesler
1987 - Indianapolis (United States) - Art of the Fantastic: Latin America 1920-1987, at Indianapolis Museum of Art
1987 - New York (United States) - Art of the Fantastic: Latin America 1920-1987, at The Queens Museum
1987 - Paris (France) - Modernidade: Brazilian Art of the 20th Century, at Musée de l´Art Moderne de la Ville de Paris
1987 - Paris (France) - São Paulo-Rio-Paris, at Galerie 1900-2000
1987 - São Paulo SP - São Paulo-Rio-Paris, at Galerie 1900-2000, at Galeria Montesanti
1987 - Rio de Janeiro RJ - São Paulo-Rio-Paris, at Galerie 1900-2000, at Galeria Montesanti
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 20th Contemporary Art Exhibition, at Chapel Art Show
1988 - Florida (United States) - Art of the Fantastic: Latin America 1920-1987, at Center of Fine Arts
1988 - Mexico City (Mexico) - Art of the Fantastic: Latin America 1920-1987, at Centro Cultural/Arte Contemporáneo
1988 - Leverkusen (Germany) - Brasil Já, at Museum Morsbroich
1988 - Stuttgart (Germany) - Brasil Já, at Galeria Landesgirokasse
1988 - Paris (France) - São Paulo-Rio-Paris, at Galeria 1900-2000
1988 - Rio de Janeiro RJ - São Paulo-Rio-Paris, at Galeria Montesanti
1988 - São Paulo SP - São Paulo-Rio-Paris, at Galeria Montesanti
1988 - Rio de Janeiro RJ - 88 x 68: A Review of the Years
1988 - São Paulo SP - 15 Years of the Brazil-Japan Fine Arts Exhibition, at Fundação Mokiti Okada M.O.A.
1988 - São Paulo SP - 63/66 Figure and Object, at Galeria Millan
1988 - São Paulo SP - MAC 25 Years: Recent Acquisitions and Donations, at MAC/USP
1988 - São Paulo SP - Modernidade: Brazilian Art of the 20th Century, at MAM/SP
1988 - Stuttgart (Germany) - Brasil Já, at Galerie Landesgirokasse
1989 - Hannover (Germany) - Brasil Já, at Sprengel Museum
1990 - Atami (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Brasília DF - Brasília Visual Arts Prize, at MAB
1990 - Caracas (Venezuela) - Figuración Fabulación, 75 años de pintura en America Latina 1914-1989, at Fundación Museo de Bellas Artes
1990 - Rio de Janeiro RJ - 9th Brazil-Japan Contemporary Art Exhibition
1990 - São Paulo SP - 9th Brazil-Japan Contemporary Art Exhibition, at Fundação Brasil-Japão
1990 - Sapporo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1990 - Tokyo (Japan) - 9th Brazil-Japan Contemporary Art Exhibition
1991 - Stockholm (Sweden) - Viva Brasil Viva, Kulturhuset, Konstavdelningen och Liljevachs Konsthall
1991 - Frankfurt (Germany) - Art Frankfurt
1991 - Los Angeles and Washington D. C. (United States) - Parallels and Divergence/One Heritage: two paths, at Daniel Saxon Gallery and at Kimberly Gallery
1991 - Makurasaki (Japan) - 2nd Biennal Exhibition of Arts - Special Jury Prize
1991 - Nagoya (Japan) - Perspectives of the Present: contemporary painting of Latin American, at Nagoya Museum of Art
1991 - Paris (France) - 6 Artistes Latinoamericains, at Galerie 1900-2000
1991 - San Diego (United States) - Latin American Drawings Today, at San Diego Museum of Art
1991 - São Paulo SP - What Are You Doing Now, Generation 60?: Young Contemporary Art of the 1960s Revisited, at MAC/USP
1991 - Washington (United States) - Tradition and Innovation, at Art Museum of the Americas
1992 - Americana SP - Reopening Exhibition of the Museu de Arte Contemporânea de Americana, at MAC/Americana
1992 - Campinas SP - Prizewinners of the Campinas Contemporary Art Salons, at MACC
1992 - Mexico City (Mexico) - International Collection, at Museo de Arte Moderno
1992 - Curitiba PR - 10th Curitiba City Printmaking Show, at Museu da Gravura
1992 - Paris (France) - Diversité Latino Americaine, at Galerie 1900-2000
1992 - Paris (France) - La Amerique Latine dans touts ses États, at Maison de l'Amerique Latine
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Museu de Arte Contemporânea da Universidade de São Paulo, at Casa da Cultura de Poços de Caldas
1992 - Rio de Janeiro RJ - On the Way to Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Eco Art, at MAM/RJ
1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1992 - Santo André SP - 20th Santo André Contemporary Art Salon, at Paço Municipal
1992 - São Paulo SP - The 1960s/70s: Gilberto Chateaubriand Collection - MAM/RJ, at Galeria de Arte do Sesi
1992 - Seoul (South Korea) - Humanism and Technology, at Mnba
1992 - Seville (Spain) - Expo 92: Mirando a La America Latina y el Caribe
1992 - Zurich (Switzerland) - Brasilien: entdeckung und selbstentdeckung, at Kunsthaus Zürich
1993 - João Pessoa PB - Woodcut: From Cordel to the Gallery, at Funesc
1993 - Niterói RJ - 2nd On the Way to Niterói: João Sattamini Collection, at MAC/Niterói
1993 - Porto Alegre RS - Arcangelo Ianelli, Antonio Henrique Amaral and Francisco Stockinger, at Bolsa de Arte de Porto Alegre
1993 - Rio de Janeiro RJ - Brazil 100 Years of Modern Art, at Mnba
1993 - São Paulo SP - Portuguese-Japanese-Brazilian Exhibition, at MAB/Faap
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1993 - São Paulo SP - Portugal-Japan: Seas Sailed, at MAB/Faap
1993 - São Paulo SP - Representation: Decisive Presences, at Paço das Artes
1994 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - Woodcut: From Cordel to the Gallery, at Metrô and at Masp
1994 - Seoul (South Korea) - Humanism and Technology, at Museu Nacional de Belas Artes
1995 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1995 - New York (United States) - New Acquisitions - 20th Century Collection, at Metropolitan Museum of Art
1995 - Santa Barbara (United States) - Point/Counterpoint: two views of 20th Century Latin American Art, at Santa Barbara Museum of Art
1995 - São Paulo SP - Drawing in São Paulo: 1956-1995, at Galeria Nara Roesler
1995 - São Paulo SP - Projeto Contato, at Galeria Sesc Paulista
1995 - São Paulo SP - 1st United Artists, at Casa das Rosas
1995 - São Paulo SP - Visual Road, at Renato Magalhães Gouvêa Escritório de Arte
1996 - Belo Horizonte MG - Traveling Impressions, at Palácio das Artes
1996 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Off Bienal, at MuBE
1996 - São Paulo SP - Six Timeless Artists, at Múltipla de Arte
1997 - Monterrey (Mexico) - Marco Prize, at Museo de Arte Contemporáneo de Monterrey
1997 - Porto Alegre RS - 1st Bienal de Artes Visuais do Mercosul, at Fundação Bienal de Artes Visuais do Mercosul
1997 - Porto Alegre RS - Political Strand, at Fundação Bienal de Artes Visuais do Mercosul
1997 - São Paulo SP - Anthropophagic Appropriations, at Itaú Cultural
1998 - Brasília DF - Football Art, at Ministério das Relações Exteriores
1998 - São Paulo SP - Football Art, at Memorial da América Latina
1998 - Rio de Janeiro RJ - Football Art, at Casa França-Brasil
1998 - Paris (France) - Football Art
1998 - Marseille (France) - Football Art
1998 - São Paulo SP - Elective Affinities I: The Collector's Gaze, at Casa das Rosas
1998 - São Paulo SP - Canibáliafetiva, at A Estufa
1998 - São Paulo SP - Figurations: 30 Years in Brazilian Art, at MAC/USP
1998 - São Paulo SP - Impressions: The Art of Brazilian Printmaking, at Espaço Cultural Banespa
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, at Galeria de Arte do Sesi
1999 - Niterói RJ - Mostra Rio Gravura: Banerj Collection, at Museu Histórico do Ingá
1999 - São Paulo SP - 8 Brazilian Artists, at Galeria Sergio Caribé
1999 - São Paulo SP - Brazil in the Century of Art, at Galeria de Arte do Sesi
2000 - Colchester (England) - Outros 500: highlights of brazilian contemporary art in UECLAA, at University of Essex
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Fundação Calouste Gulbenkian. Centro de Arte Moderna José de Azeredo Perdigão
2000 - New York (United States) - Latin American Still Life: reflections of time and place, at El Museo del Barrio
2000 - Rio de Janeiro RJ - Ferreira Gullar Collection of Brazilian Paintings, at MAM/RJ
2000 - São Paulo SP - Art and Eroticism, at Galeria Nara Roesler
2000 - São Paulo SP - Brasil + 500 Mostra do Redescobrimento. Contemporary Art, at Fundação Bienal
2000 - São Paulo SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - The Role of Art, at Galeria de Arte do Sesi
2000 - São Paulo SP - New Work, at MAC/USP
2001 - Brasília DF - Investigations. Brazilian Printmaking, at Itaugaleria
2001 - Penápolis SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2001 - Porto Alegre RS - Liba and Rubem Knijnik Collection: Contemporary Brazilian Art, at Margs
2001 - São Paulo SP - Brazilian Culture 1, at Casa das Rosas
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, at MAB/Faap
2001 - São Paulo SP - X Poéticas, at A Hebraica
2002 - Rio de Janeiro RJ - Paths of the Contemporary 1952-2002, at Paço Imperial
2002 - São Paulo SP - 8 Contemporary Brazilian Artists, at Casa das Rosas
2002 - São Paulo SP - Imaginary Mexico: The Brazilian Artist's Gaze, at Casa das Rosas
2002 - São Paulo SP - Portão 2, at Galeria Nara Roesler
2003 - Rio de Janeiro RJ - Projeto Brazilianart, at Almacén Galeria de Arte
2003 - São Paulo SP - The Subversion of Media, at Itaú Cultural
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2003 - São Paulo SP - Arteconhecimento: 70 Years of USP, at MAC/USP
2003 - São Paulo SP - Israel and Palestine: Two States for Two Peoples, at Sesc/Pompéia
2004 - São Paulo SP - Still Life/Natureza Morta, at Galeria de Arte do Sesi
Source: Itaú Cultural
