Belmiro de Almeida (Serro MG 1858 - Paris France 1935)
Painter, draftsman, caricaturist, sculptor, teacher and writer.
He attends the Liceu de Artes e Ofícios and the Academia Imperial de Belas Artes - Aiba, between 1869 and 1880, in Rio de Janeiro, where he studies with Agostinho da Motta, Zeferino da Costa and José Maria de Medeiros. In 1878, he studies with Henrique Bernardelli and Rodolfo Amoedo at the Ateliê Livre. He teaches drawing at the Liceu de Artes e Ofícios from 1879 to 1883, and at the Escola Nacional de Belas Artes - Enba from 1893 to 1896. From 1884 onward, he lives between Paris and Rio de Janeiro. His first trip to Paris, in 1884, leads to an aesthetic redirection in his work, the result of studying and coming into contact with the works of artists and intellectuals who renewed the art of the period: Édouard Manet and Edgar Degas in painting, and Gustave Flaubert and Émile Zola in literature. During his second stay in the French capital, which begins in 1888, he comes into contact with Georges Seurat at the École Nationale Supérieure des Beaux-Arts and studies painting with Jules Joseph Lefebvre and B. Constant et Pelez, drawing closer to post-impressionist currents. In Rio de Janeiro, he works as a caricaturist for several magazines, such as Comédia Popular, Diabo a Quatro, A Cigarra, Bruxa and O Malho. He founds the periodicals Rataplan and João Minhoca, between 1886 and 1901. He is one of the creators of the Salão dos Humoristas [Humorists' Salon], in 1914, and a member of the Conselho Superior de Belas Artes, from 1915 to 1925.
Little known to the general public, Belmiro is greatly admired for the quality of his work and for the innovative nature of his proposals in Brazilian art. Good-humored and playful, he was a constant presence in bohemian circles. He devoted himself to the press with biting caricatures and satirical, polemical texts. By using everyday scenes and characters from ordinary urban life as subjects for his painting, he made an impact on the art world and opened the door to a new art, building a bridge to the avant-gardes of the 20th century.
The 19th century in Brazil was marked by sweeping changes in the structure, dynamics and composition of society, which are reflected in the art of the period.
Still rooted in the old customs dictated by the conservative masters of the Academia de Belas Artes, artistic production in the years around the Proclamation of the Republic was beginning to change. A new generation was emerging, ready to challenge prejudices and open less austere paths for Brazilian art.
The winds of revolution were not limited to political debate. Many students of the Academy sought, outside that institution, answers to the new questions that were arising. They attended free studios such as those of Henrique Bernardelli and Rodolfo Amoedo, which opened their doors in the heat of republican change.
Belmiro Barbosa de Almeida belonged to this new generation of dissenters, alongside Visconti, Rafael Frederico, Décio Vilares and Fiúza Guimarães, among others.
He was a multifaceted artist: painter, draftsman, sculptor, caricaturist, poet, humorist, journalist and teacher. Strong-tempered, he was kind to his friends and merciless toward his enemies, against whom he turned his sharp, irreverent talent.
As a caricaturist, with cutting jokes, cartoons and critical portraits, he contributed to several publications, ushering in a new phase of the genre. He used pseudonyms such as the anagrams Romibel and Bromeli when contributing caricatures to "O Diabo da Meia Noite", "O Binóculo", "O Diabo a Quatro", "A Cigarra", "Ilustração Infernal" and "O Tagarela", in addition to founding "O Rataplan" in 1886 and "João Minhoca" in 1901.
As a painter, however, his innovations were less daring. Although marked by a subtle humor, his painting bears a strong academic influence, since he studied at the Liceu de Artes e Ofícios and the Academia Imperial de Belas Artes between 1869 and 1880.
His revolutionary role in the panorama of Brazilian painting is marked by the quality of his canvases, his choice of unexpected subjects and the original pictorial treatment that place him among the renewers who opened the door to the 20th century.
As a skilled draftsman, he generally tended to subordinate color to drawing, as if the former were merely a tool for enhancing the latter. Belmiro painted by drawing, in rigorous, detailed and patient work. He used little paint, without excess, without overloading the canvas, preferring quick scumbles and brushstrokes in small touches, in experiments close to Pointillism. In this way he softens the contours, blending the colors so as once again to bring out the drawing of his works.
Ambivalence
Belmiro de Almeida had a very particular relationship with the Academy. While criticizing it, he could not leave it behind. While he held the chair of Drawing at the Escola Nacional de Belas Artes, replacing Pedro Weingärtner at the invitation of Rodolfo Bernardelli, he created, together with Di Cavalcanti, Helios Seelinger, Kalisto and J. Carlos, the Salão dos Humoristas [Humorists' Salon], an ironic allusion to the elitist Fine Arts Salons.
His irreverence, his talent and the innovations he tried out in the artistic field make it impossible to regard him as a conservative. However, his attitude, always bound to academic rigor, and a certain reluctance to free himself entirely from some canons prevent him from being classed fully among the rebel artists. Added to this is the fact that he was a professor at the Escola Nacional de Belas Artes and won several awards in the Academy's competitions (Honorable Mention, Silver Medal and Gold Medal in 1874/75/76/77/78/80/84). Some critics did not forgive this ambiguity, and Belmiro de Almeida's work ended up being disregarded during the 20th century. The revolutions Modernism brought about in the way art was viewed were so intense that everything done before seemed outdated. Today, art criticism is once again turning its eyes to the past and sees in the 19th century great manifestations of Brazilian painting.
Belmiro de Almeida thus emerges as one of the most authentic and interesting artists of the period, with a body of work that deserves attention and deeper study.
The Works
The number of works Belmiro painted is not large, since he devoted himself to so many different activities. It was during his periods of study in France and Italy that he produced his best-known paintings.
In Arrufos [Lovers' Quarrel] of 1887, Belmiro is influenced by the strong trend in Italy at the time, linked to the realism of Courbet, which turned its gaze to ordinary life. The subject surprises the Brazilian public and fits the new political circumstances: no longer the Emperor or the illustrious, solemn man is depicted, but the bourgeois inside his home amid trivial events. In the careful attention to every detail and the painstaking treatment that fills every part of the interior, this picture can be related to Descanso da Modelo [The Model Resting] by Almeida Júnior.
The Italian influence is even clearer in the popular types depicted in Camponesa Napolitana [Neapolitan Peasant Woman] and Idílio Campestre [Country Idyll]. In them, paint is used sparingly, allowing the white support to show through, harmonizing with the luminous setting as a whole.
In Tagarela [The Chatterbox], the cheerful servant breaks into a good-humored smile as she faces the viewer. In dark tones, the interior scene gains luminosity in the masterfully modeled white apron. Treated as a female portrait, the painting uses scumbles in earthy tones, creating soft transparencies. The brushstrokes leave the marks of each touch and avoid the impasto common in oil painting. Spatiality is ensured by the drawing of the floor and the presence of the wooden furniture on the right. The broom lying on the floor counterbalances the flowers in the opposite upper corner and indicates the character's social position. Her luminous face, with a friendly expression, draws the eye, which glides down to her hands standing out against the white background.
As a sculptor, he produced Manequinho, a bronze figure of a urinating boy created for a public square. It is in fact a version of the Manneken Pis in Brussels and stands today in the Botafogo district of Rio de Janeiro. Among other sculptures, he made the bust of the industrialist Antônio Seabra, his friend and artistic patron, as well as satirical works and caricatured figures, some of which he had cast in bronze, and the sculptural design of a female figure for the tomb of Afonso Pena.
His engaged profile is revealed by a few facts: he was the founder and president of the Artists' Union in 1930, and when he died in Paris on June 12, 1935, he left part of his estate to the Escola Nacional de Belas Artes to support artists lacking resources.
Foreign Influences
Much of his training is owed to the European influences he absorbed during his studies in Paris and Italy. Despite his talent, the dissenting character of his works kept Belmiro de Almeida from winning the Academia Imperial de Belas Artes competition, whose prize was a study trip to Europe. With the help of more open-minded teachers who recognized the young man's qualities, he obtains a subscription that allows him to leave for Europe in 1888.
In the 19th century, Paris became the center where encounters and exchanges of ideas and people from every continent were possible. Brazil's artistic and intellectual elite was also present on this great stage.
In general, this group of Brazilians tended to join other groups settled in the City of Light. The Portuguese and the Italians were the most accessible for various reasons, such as cultural proximity and, more specifically in Belmiro de Almeida's case, the direct influence of the Bernardellis and their trips to Italy. At that time, national unification and its political consequences had brought many Italian artists to Paris.
Market influences, which made newly rich Americans the new buyers of paintings, encouraged the appreciation of a kind of elegant, sensual and exotic realism. The Italian De Nittis is successful with canvases inspired by the English naturalism of James Tissot (1836-1902), Millais and Alfredo Stevens. Belmiro de Almeida would drink from the same source, letting Victorian social moralism show through in the canvas Arrufos.
In Paris, Belmiro joined the studio of Jules Lefebvre, one of the painters most favored by the official establishment. Some analysts point to this, together with the restrained artistic environment in Brazil, as one of the reasons why his painting did not develop with as much freedom and innovation as his drawings and caricatures.
His painting shows strong French and Italian influences. Parisian fashion did influence the painter, but always through the filter of a certain restraint. Belmiro seems to admire the naturalist current that was then gaining strength against Italian academicism. He certainly identified with this spirit of dissent, characteristic of the Italian tone. Some of his canvases, especially Dame à la Rose, can be associated with traits of Giovanni Boldini in their emphasis on sensual, refined female beauty. In addition, the two share a taste for experimentation, devoting themselves with talent to the various currents of painting of the time.
Among the Brazilian artists who studied in Paris during this period, Belmiro was one of those who most absorbed the new trends of the modern avant-garde. In his later years, in his comings and goings between Paris and Rio de Janeiro, he came close, if only superficially, to the more general aspects of Futurism and Cubism, as in the canvas Mulher em Círculos [Woman in Circles] of 1921.
A landscape of Dampierre painted in 1912 receives a treatment very close to Seurat's Pointillism. On this point we have the testimony of Antônio Bento, published in the magazine GAM no. 5 of April 1967: "Belmiro de Almeida's canvas, a small landscape constructed in the manner of Seurat, is excellent of its kind. It already reveals the influence of the ideas that led French painting to Cubism, through Cézanne and Seurat himself".
Critical Commentary
Belmiro de Almeida enters the Academia Imperial de Belas Artes - Aiba in 1874. Between 1884 and 1885, at his own expense, he travels to Paris, where he comes into contact with new trends in painting. He is drawn to the realist ideas of the writers Émile Zola and Gustave Flaubert. In the field of the arts, he takes an interest in Édouard Manet and Edgar Degas.
In 1887, he exhibits Arrufos [Lovers' Quarrel], his best-known canvas, which stands out for its rigorous execution and the tone of gentle irony with which the scene is portrayed. In 1888, the critic Gonzaga Duque, who according to some historians is portrayed in this picture, stresses the importance of the work for the artist's modern vision: "Never before in Rio de Janeiro has a painting as important as this one been made".1 The painter breaks new ground by addressing a subject related to everyday life with a realist approach. Working at the turn of the 19th to the 20th century, he undertakes a new kind of painting, setting aside the subjects of history painting to deal with more prosaic matters of contemporary society. The critic also praises Belmiro's technique: "The colors are light and pleasing, the touches are quick, broad and well placed. No pretension to impasto, no pretension to careless patches can be seen in this work. The touch is always appropriate".2 Belmiro thus provocatively displays his qualities as a painter.
The historian Reis Júnior points out the difficult relationship between the artist, a nonconformist spirit, and the milieu in which he lives: the lack of support for new trends in art leads him not to abandon for good the more conservative works that could ensure his livelihood.
He competes for the Aiba foreign travel prize in 1888. He does not win it, but goes to Europe that year with the help of colleagues from the Academy, mainly Rodolfo Bernardelli. He visits Italy, where he paints some landscapes, but spends most of his time in Paris. Trips between Rio de Janeiro and Paris were a constant in his career. In France, he lives through a time of change in painting. He paints Efeitos de Sol [Sun Effects], 1892, which evokes a peasant world, with a landscape structured in patches of color, notable for its innovative character compared with the painting then being practiced in Brazil.
In Os Descobridores [The Discoverers], 1899, he avoids the heroic treatment that the theme of the discovery of Brazil suggests: these are two poor, exhausted men at the foot of a leafless tree. The landscape is completely arid and desolate, conveying a sense of abandonment that is reinforced by the chromatic treatment: a light that spreads evenly across the surface. Belmiro denies the work any monumentality, yet gives it a highly original conception and plastic treatment. In A Tagarela [The Chatterbox], 1893, he depicts a working-class character who interrupts a household task. What stands out in this picture is the command of line, which structures the composition, combined with careful work on color, as also in Dame à la Rose, 1905. In works such as Retrato de Abigail Seabra [Portrait of Abigail Seabra], 1900, or Paisagem em Dampierre [Landscape in Dampierre], 1919, the artist draws on the pointillist technique: the short brushstrokes enhance the tones but follow the orientation of the planes. Mulher em Círculos [Woman in Circles], 1921, on the other hand, engages with the aesthetics of Futurism.
Throughout his career, Belmiro de Almeida shows great eclecticism: he constantly experiments with new techniques, combining them with a personal interpretation and masterful execution. Alongside his career as a painter, he has an important activity as a caricaturist, to which he owes much of his prestige, working for major newspapers and magazines of the time - O Malho, Diabo a Quatro and A Cigarra, among others - and founding O Rataplan (1886) and João Minhoca (1901). In caricature he shows an interest in social issues, depicting the mishaps of daily life, at work and at leisure, in caustic cartoons. An artist of polemical, nonconformist spirit, his work has an innovative character in the panorama of Brazilian art.
Notes
1 DUQUE, Gonzaga. A arte brasileira. Introdução Tadeu Chiarelli. Campinas: Mercado de Letras, 1995, p. 212.
2 Idem, p. 213.
Critiques
"(...) Historical subjects have been the main interest of our painters who, in undertaking them, pay no attention to the period or to the customs that should shape the characters usable in the composition of these canvases. Belmiro is thus the first to break with precedent; he is the innovator, the one who, clearly understanding the art of his time, interprets a new subject. At stake here is a serious matter - less one of predilection than of a true aesthetic transformation. The painter, disdaining historical subjects to deal with a domestic one, amply proves that he understands the desideratum of modern societies, and knows that the concern of today's philosophers is humanity, represented by that single force immune to the iconoclastic blows of ridicule, the firmest, the loftiest, the most admirable of institutions - the family. This is the art the people need, because it is the one that speaks intimately to them of the joys and disappointments whose furrows still remain in their hearts."
Luiz Gonzaga Duque-Estrada
DUQUE, Gonzaga. A arte brasileira: pintura e esculptura. Rio de Janeiro: s. ed., 1888, p. 190.
"(...) the author of the exquisite realism of the small painting Arrufos, at the Museu Nacional de Belas Artes, had, in the years leading up to the Modern Art Week, made gentle experimental forays into the divisionism of Signac and Seurat, both in the pointillist technique and in the composition of these Neo-Impressionists; as well as a clear and unique experiment of futurist appearance, the only one we know of in Brazil, in the curious Mulher em Círculos [Woman in Circles] (1921), where the dynamism characteristic of the works of that movement is visible through the portrait, treated - but not constructed, hence its pseudo-futurism - with overlapping geometric figures. It is possible that the modernists of the time rejected Belmiro de Almeida because these works were mere examples of virtuosity and did not represent an adherence to the new ideas. It seems to me, rather, that his name probably could not have been considered, either because these works were unknown or because of his connection with the Escola Nacional de Belas Artes, where he taught for many years. What is certain, however, is that there were some examples of attempts at modernity in certain works by artists linked to academic art, although they were sporadic and perhaps lacked the youthfulness the newcomers desired. (...) But the group that made up the Modern Art Week truly wanted to present a new team, with no ties to the past. Here, too, the break is evident."
Aracy Amaral
AMARAL, Aracy A. Artes plásticas na Semana de 22: subsídios para uma história da renovação das artes no Brasil. 4. ed. São Paulo: Perspectiva, 1979. (Debates, 27), p. 140.
"(...) Some consider him a revolutionary of Brazilian painting, since his canvases, painted in Paris and Rome, display, both in the conception of their subjects and in their pictorial treatment, an entirely original physiognomy in relation to everything our painters had done until then. (...) But Belmiro did not escape the influence of academic teaching, to which he submitted, in a way, here through unavoidable circumstances and in Europe, particularly in Paris, by seeking out one of the most conservative and officially favored studios, that of the painter Jules Lefébvre. This contact surely did not allow him the liberation his rebellious spirit would have needed to assert itself properly, away from the conservative torpor that partly cloaks his painting, conditioned by a meticulous and in no way expansive drawing. The draftsman did not keep pace with the painter, who proved far more ambitious. (...) Seen closely, his painting reveals French as well as Italian sources, both in its evident admiration for a naturalism that was emerging on the peninsula against the old academic painting, and in the influence of a certain Parisian fashion that did not overcome the good behavior of studio work. Hence Belmiro proves open to renewal, but with flagrant restraint. He always kept a very personal pictorial taste in which color was strictly subordinated to drawing, or rather, as if color sought to prolong the drawing, preventing a freer handling."
Quirino Campofiorito
CAMPOFIORITO, Quirino. História da pintura brasileira no século XIX. Rio de Janeiro: Pinakotheke, 1983, p. 199-200.
"Whereas Belmiro de Almeida trod the path of Seurat and perhaps the road of Cézanne. He lived through the artistic effervescence of Paris at the turn of the century. With his intelligence always alert to novelty and the liveliness of his spirit, he witnessed the emergence of Impressionism, to which he adhered. A few years later, he witnessed the evolution of Impressionist theories under the impetus of one of their most ardent neophytes, Georges Seurat. Belmiro grasps the meaning of this evolution and follows it. Efeitos de Sol [Sun Effects] is simply an Impressionist study, as are Seurat's early works, his studies, his sketches, from which emerged the structured landscapes of Honfleur and his great compositions, which go far beyond Impressionism: the technique of the latter is one of instinct and instantaneity, that of the former one of reflection and permanence.
(...)
A process that brings him close to Seurat, who ... eliminates chiaroscuro (...) and spreads over his compositions a general diffuse light, unrelated to real lighting. A process Belmiro will use from then on in his works, as can be seen in Nu Adolescente [Adolescent Nude], of 1904, and above all in Amuada [Sulking], 1905/1906, (...) This work is more than that, more than the work of someone enamored of the French master's lyricism: it is the work of a lucid intelligence won over by his theories. Here the presence of the master of the Poseuses is flagrant, not only in the distribution of light dissolving the shadows but also in the science of short brushstrokes juxtaposing and enhancing the tones; and, what is more significant, obeying the orientation of the planes, thereby architecting the autonomy of the picture. We will follow Belmiro carrying out this work through the series of European landscapes - few works, in fact, but which give us a sequence in time of his laborious studies, illuminating the seriousness of his intentions. Among others, this series includes Paisagens de Dampierre [Landscapes of Dampierre] (1912); Le Chemin de la Ferme and Pont sur le Quillon-Fourchiroles (1920); A Roseira do Quintal [The Rosebush in the Yard] (1923) and Moulin Godart (1927)."
José Maria Reis Júnior
REIS JÚNIOR, José Maria. Belmiro de Almeida 1858-1935. Prefácio Quirino Campofiorito. Rio de Janeiro: Pinakotheke, 1984. 120 p., il. p&b. color. (Série prata, 10), p. 55-57.
"Belmiro (...) brought to an end the period in which Brazilian art was still a prisoner of the rhetoric of genres and was based on transposing the European tradition into a national key. He launched a new art, inspired by contemporary urban social reality, speaking of changing customs within the family and of the condition of women in modern society. It was a painting aimed at the moral education of the public, imitating the example of English Victorian painting but adopting the aesthetics of French naturalism. The artist ceased to be a kind of high priest of the cult of the nation and came to reject the idea of a celebratory painting, promoted by the State and remote from the representation of the present. Thus, like Amoedo and Aurélio Figueiredo, Belmiro sought to embody the model of the dandy artist, the urban intellectual who made his art a style and a way of life (...)"
Luciano Migliaccio
MOSTRA DO REDESCOBRIMENTO (2000: SÃO PAULO, SP), AGUILAR, Nelson (org.), SASSOUN, Suzanna (coord. ). Arte do século XIX. São Paulo: Fundação Bienal de São Paulo: Associação Brasil 500 anos Artes Visuais, 2000. p. 148.
"Belmiro de Almeida was not content to hold a distinguished place in the painting of the late Monarchy. He presents himself as an artist whose practice is not satisfied with public success. The portrait of Pereira Passos appears with a divisionist weave that reaches its peak in the background wall and in the sitter's suit and explodes in thousands of coloristic fireworks, as if every molecule of the Haussmann of the Southern Hemisphere obeyed the dizzying rhythm of the pickaxes demolishing the slums. The face, lightly reticulated, asserts itself as the center of the whirlwind of micro-brushstrokes, lending the protagonist an oriental aura. Belmiro takes note of the avant-garde revolutions and glosses them in Mulher em Círculos [Woman in Circles] or Mãe e Filho [Mother and Son], offering the first examples of Futurism among us. The divisions of tone deserve every care from this painter, who delights in finding patches of sunlight worthy of being immortalized on canvases of an extremely restrained, geometric pointillism, without, however, attaining the essentiality of Seurat's work."
Nelson Aguilar
MOSTRA DO REDESCOBRIMENTO, 2000, SÃO PAULO, SP, AGUILAR, Nelson (org.), SASSOUN, Suzanna (coord.). Arte moderna. São Paulo: Fundação Bienal de São Paulo: Associação Brasil 500 anos Artes Visuais, 2000. 255 p., il. color. p. 35.
Collections
Acervo da Pinacoteca do Estado de São Paulo/Brasil - São Paulo SP
Museu de Arte de São Paulo Assis Chateaubriand - Masp - São Paulo SP
Museu Histórico e Diplomático do Itamaraty - Brasília DF
Museu Mariano Procópio - Juiz de Fora MG
Museu Nacional de Belas Artes - MNBA - Rio de Janeiro RJ
Museus Castro Maya - IPHAN/MinC - Rio de Janeiro RJ
Solo Exhibitions
1887 - Rio de Janeiro RJ - Solo, at Casa de Wilde
1887 - Rio de Janeiro RJ - Solo, at Aiba
1890 - Rio de Janeiro RJ - Solo, at Ateliê Livre do Largo São Francisco
1917 - Rio de Janeiro RJ - Solo, at Galeria Jorge
Group Exhibitions
1882 - Rio de Janeiro RJ - Exhibition, at Sociedade Propagadora de Belas Artes
1884 - Rio de Janeiro RJ - 26th General Exhibition of Fine Arts, at Aiba - silver medal
1890 - Rio de Janeiro RJ - General Exhibition of Fine Arts, at Enba - acquisition prize
1894 - Rio de Janeiro RJ - 1st General Exhibition of Fine Arts, at Enba - second-class gold medal
1896 - Rio de Janeiro RJ - 3rd General Exhibition of Fine Arts, at Enba
1898 - Rio de Janeiro RJ - 5th General Exhibition of Fine Arts, at Enba
1900 - Rio de Janeiro RJ - 7th General Exhibition of Fine Arts, at Enba
1905 - Rio de Janeiro RJ - 12th General Exhibition of Fine Arts, at Enba
1906 - Rio de Janeiro RJ - 13th General Exhibition of Fine Arts, at Enba
1907 - Rio de Janeiro RJ - 14th General Exhibition of Fine Arts, at Enba
1909 - Rio de Janeiro RJ - 16th General Exhibition of Fine Arts, at Enba
1916 - Rio de Janeiro RJ - Humorists' Salon, at Liceu de Artes e Ofícios
1921 - Rio de Janeiro RJ - 28th General Exhibition of Fine Arts, at Enba - large gold medal
1923 - Paris (France) - Paris Salon
1926 - Rio de Janeiro RJ - 33rd General Exhibition of Fine Arts, at Enba
Posthumous Exhibitions
1941 - Rio de Janeiro RJ - 47th National Salon of Fine Arts
1942 - Rio de Janeiro RJ - Religious Painting Exhibition, at MNBA
1944 - Rio de Janeiro RJ - The Brazilian Landscape, at MNBA
1946 - São Paulo SP - 12th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1948 - Rio de Janeiro RJ - Retrospective of Painting in Brazil, at MNBA
1950 - Rio de Janeiro RJ - A Century of Brazilian Painting: 1850-1950, at MNBA
1954 - Rio de Janeiro RJ - Exhibition of Female Portraits, at MNBA
1956 - Rio de Janeiro RJ - Exhibition of Male Portraits, at MNBA
1957 - Rio de Janeiro RJ - The Nude in Art, at MNBA
1970 - São Paulo SP - Solo, at MAB/Faap
1970 - São Paulo SP - Pinacoteca do Estado de São Paulo 1970
1972 - São Paulo SP - The Week of '22: Antecedents and Consequences, at Masp
1974 - Rio de Janeiro RJ - Reflections of Impressionism, at MNBA
1976 - São Paulo SP - The Portrait in the Pinacoteca Collection, at Pinacoteca do Estado
1979 - Belo Horizonte MG - 6th Global Winter Salon, at Fundação Clóvis Salgado. Companhia de Dança de Minas Gerais
1980 - Buenos Aires (Argentina) - Ochenta Años de Arte Brasileño, at Banco Itaú
1982 - Bauru SP - 80 Years of Brazilian Art
1982 - Marília SP - 80 Years of Brazilian Art
1982 - São Paulo SP - 80 Years of Brazilian Art, at MAB/Faap
1983 - Belo Horizonte MG - 80 Years of Brazilian Art, at Fundação Clóvis Salgado. Palácio das Artes
1983 - Campinas SP - 80 Years of Brazilian Art, at MACC
1983 - Curitiba PR - 80 Years of Brazilian Art, at MAC/PR
1983 - Ribeirão Preto SP - 80 Years of Brazilian Art
1983 - Rio de Janeiro RJ - History of 19th-Century Brazilian Painting, by Acervo Galeria de Arte, at MNBA
1983 - Santo André SP - 80 Years of Brazilian Art, at Prefeitura Municipal de Santo André
1983 - São Paulo SP - History of 19th-Century Brazilian Painting, by Acervo Galeria de Arte, at Pinacoteca do Estado
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1986 - Porto Alegre RS - Paths of Brazilian Drawing, at Margs
1986 - São Paulo SP - Dezenovevinte: A Turn of the Century, at Pinacoteca do Estado
1989 - Fortaleza CE - 19th- and 20th-Century Brazilian Art in Ceará Collections: Paintings and Drawings, at Espaço Cultural da Unifor
1991 - São Paulo SP - Desire in the Academy: 1847-1916, at Pinacoteca do Estado
1993 - Rio de Janeiro RJ - Brazil: 100 Years of Modern Art, at MNBA
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - A Critical Look at the 19th-Century Collection, at Pinacoteca do Estado
1998 - Rio de Janeiro RJ - Negotiated Images: Portraits of the Brazilian Elite, at CCBB
1999 - São Paulo SP - The Female Figure in the MAB Collection, at MAB/Faap
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Porto Alegre RS - From Frans Post to Eliseu Visconti: Museu Nacional de Belas Artes - RJ Collection, at Margs
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro from 1905 to 1960, at Paço Imperial
2000 - São Paulo SP - The Female Figure in the MAB Collection, at MAB/Faap
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - São Paulo SP - 30 Masters of Painting in Brazil, at Masp
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Brasília DF - Barão do Rio Branco: His Work and His Time, at Ministério das Relações Exteriores. Palácio do Itamaraty
2002 - Niterói RJ - Brazilian Art on Paper: 19th and 20th Centuries, at Solar do Jambeiro
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2002 - São Paulo SP - Image and Identity: A Look at History in the Museu de Belas Artes Collection, at Instituto Cultural Banco Santos
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
Source: Itaú Cultural, EntreCulturas
