Candido Portinari

Candido Portinari (Brodowski, SP-1903 / Rio de Janeiro, RJ-1962)

Candido Portinari was one of the main Brazilian artists of the 20th century and one of the most relevant figures in modern painting in Brazil. Born in Brodowski, in the interior of São Paulo, he developed a work marked by the representation of the Brazilian social reality and the appreciation of the national identity. Painter, illustrator, engraver and teacher. His artistic production portrays the daily life of the Brazilian people, rural and urban landscapes and social issues such as inequality, work and migration.

Candido Portinari

among the main works of Candido Portinari The war and peace murals, commissioned by the United Nations, in addition to paintings such as coffee, Tiradentes and São Francisco de Assis, stand out. His works are part of the collections of reference institutions, such as the Museum of Modern Art and the Library of Congress of the United States.

Son of Italian immigrants, Candido Portinari grew up on a coffee farm, an experience that directly influenced his artistic language. As a child, he participated in the restoration of the church in his city, demonstrating from an early age a talent for drawing and an interest in the visual arts. Fine Arts. Despite his academic background, he developed his own aesthetic, dialoguing with the European vanguards without losing the connection with the Brazilian reality.

In 1928, Candido Portinari won an award that allowed him to travel to Europe. He lived in Paris and had contact with movements such as Cubism and Expressionism, influences he originally incorporated into his artistic production.

By returning to Brazil in 1931, Candido Portinari began a decisive phase of his career, marked by representation of rural workers and social inequalities. In 1935, the work Café was shown in Pittsburgh and acquired by the Museum of Modern Art, expanding its international projection.

In the 1930s and 1940s, Candido Portinari produced important murals for buildings. public, such as the Ministry of Education and Health, in Rio de Janeiro, and the Chapel of São Francisco, in Belo Horizonte. In these works, he maintained a critical approach focused on social and human issues.

Retrato de Olegário Mariano com o fardão acadêmico; premiado no salão de 1928. ost, 198x65, 1928

Political engagement also marked the trajectory of Candido Portinari. Member of the Brazilian Communist Party, he applied for public office and lived in Uruguay between 1947 and 1948. He defended art as an instrument of social transformation and reflection on the Brazilian reality.

In the 1950s, Candido Portinari He maintained intense artistic production even facing health problems caused by intoxication by paints. During this period, he received international recognition, including the International Peace Prize in 1950.

Candido Portinari died in 1962, leaving a fundamental legacy for Brazilian art. His work remains a reference for researchers, collectors, students and scholars of national culture, especially for the way he addressed social issues and Brazilian identity.

In 1979, the Portinari Project was created, conceived by João Candido Portinari, with the objective of preserve, research and publicize their artistic production. His former residence in Brodowski became the Casa de Portinari Museum, one of the main spaces dedicated to the preservation of his memory, trajectory and work.

Candido Portinari remains one of the greatest Brazilian painters, recognized for uniting art and social criticism in a production that remains relevant to The history of Brazilian art and for the understanding of the cultural identity of the country.

Commented works

Candido Portinari is the author of the drawing O Pé e o Machado, a technically refined work and of great expressive strength, executed with charcoal about kraft paper. According to the Raisonné de Candido Portinari Catalog, it is one of the “designs for transport” created as part of the process of executing the Pau-Brasil mural, produced in 1938 for the large audience hall of the Ministry of Education, in Rio de Janeiro.

Because it is a transport design, Candido Portinari presents a precise finish and an exceptional technical mastery in O Pé e o Axe. But what characterizes this type of study? After approval of the theme by the principal, Candido Portinari prepared a detailed drawing of the final project. This life-size study was transferred to thick paper or cardboard, with marked contours or charcoal drilled. Then, the drawing was applied to the still damp wall, allowing the strokes to be accurately transferred. The artist then reviewed the lines and applied the colors, without the possibility of major adjustments, since any error required redoing the entire section of the fresco, which made the accuracy of the drawing a fundamental step.

In this large format fragment, with approximately 280 X 250 cm, the domain that Candido Portinari possessed of human anatomy is evident. The expressiveness of the shapes and the technical complexity even outweigh the presence of color. The distorted and elongated figures create a dramatic effect, with heroic proportions that dispense with the emphasis on ethnic differences. The work reflects Candido Portinari's commitment to a universal visual language, centered on the strength of the trait, the monumentality of the figures and the social sensitivity that permeates all his artistic production.

Valerio Pennacchi-Pennacchi, 2006.

Three friends on the hill[8]
C. T. Portinari (Brodowski, 1903 – Rio de Janeiro, 1962)
Oil on canvas
100 x 82 cm, 1938

"Brazilian art will only be when our artists completely abandon useless traditions and give themselves with every soul, to the sincere interpretation of our environment"
Candido Portinari
Jornal "A Manhã"; June, 1926.

The work in question is a perfect example of the Brown series, also known as "Brodosquiana", a phase that begins in 1933-1934 and progressively transforms until 1940, without major ruptures, which is characteristic of the continuous trajectory of Candido Portinari.

Considering the immense prestige of Portinari and the wide dissemination of his work, we can say that this piece represents a period in which works of great recognition and importance were created, such as the Circus, football and the hill, the latter belonging to the MoMA collection in New York.

Painting presents us with a surface dominated by shades of brown, earth and purple, with touches of light that illuminate three prominent female figures. These figures are characterized by the abandonment of conventional proportions and by the elongation of the silhouettes, giving them a clear "neoclassical" direction, a recovery of the pictorial tradition, as expressed by Jean Cocteau, who coined the term "Rappel à L'Ordre". Spontaneous brushstrokes replace the humble shelters on the hill, and the effects of light-dark frames frame the main theme, creating a sense of stillness that contrasts with the severity of the horizon.

The pictorial execution of this work It is representative of Candido Portinari's rupture with academicism, marking a phase of constant representation of the human presence, something that would become a central element in his work.

Although there are already numerous works that enrich the bibliography on Candido Portinari, With great theorists, critics and scholars exploring the scope of his production, the debate about his art is still far from being closed. As they say, Portinari Vive.

Valerio Pennacchi-Pennacchi, 2004.

Obras de Candido Portinari

Candido Portinari He was one of the biggest names in Brazilian art, with a production that can reach around 5,000 works. In this clipping, it is possible to appreciate 30 oil works, drawings to crayon and graphite, prints on metal and lithographs, a significant sampling of the trajectory of Candido Portinari, who, through the murals on the economic evolution of Brazil in the current Capanema Palace, He lived one of the most memorable moments of his career. Although less well known than the UN War and Peace panels, these works reaffirm the monumental talent of Candido Portinari.

The building, originally designed to be the headquarters of the MEC, is a landmark of the functionalist architecture of a Corbusian matrix in Brazil, introducing new elements aesthetic and symbolic. Built between 1936 and 1945, it represents a period in which the State sought to convey modernity and intellectual advancement, a context in which the art of Candido Portinari found fertile ground to assert itself as an expression of national identity.

Talking about Candido Portinari, one of the most prestigious artists in Brazil, after the literary monuments of Antonio Bento and Antonio Callado, is almost tautological, as these authors deeply analyzed their social and aesthetic concerns. “Candinho”, as he was called, portrayed man and his condition from a severe perspective, incorporating influences from European modern art he met between 1928 and 1931, especially the Paris School and the Return to Order Movement.

With a broad and technical view Afterwards, Candido Portinari built a modern figurative work, associated to different degrees with Cubism and Surrealism, a people-oriented modernism, whose strength lies in the deconstruction of traditional aesthetic systems.

when observing a portrait of a black girl, Candido Portinari's expressive power is perceived, which involves the viewer by the emotional density of the faces. There is volume, weight and strength in the bodies, robustness in the shapes and a live sculpture in the figures of the cane cutters. Even in compositions such as the rabbit or frevo, there is the vigor of the traits and the humanity of the characters, always linked to work, culture and everyday life in Brazil.

It is the permanent mark of the genius: that of Candido Portinari, the artist who transformed the social, human and universal language.

Valerio Pennacchi-Pennacchi, 2012.

Criticism

Candido Portinari marked, with his migrants, his Brodowski boys and its paintings of farmers, the abyss that still exists between Brazilian nature — this brutally grandiose country that we evoke when we say, like a magic word, “Brazil” — and the artificial life built by the imitating man of Europe and the United States. His painting of those times is a protest against the lack of intimacy between us and the Brazilian reality. It is a cry against the fact that we are still so superimposed on the landscape, and not stuck in it, as are the feet of the blacks, the caboclos, the tapuias, the cafuzos, the curibocas and the immigrants.

Antonio Callado — Portrait de Portinari, MAM-RJ, 1956.

The last time I saw Candido Portinari, his eyes were shallow. If I'm not mistaken, it was in the castle; I was going in search of a driving and he came with his Maria. It was little what we said. He was thin; He hugged me deeply and said: "Imagine, I can't paint anymore, I'm forbidden by the doctor." It was the time of the afternoon when things were lit up and the blue eyes of Candido Portinari, with the tears that didn't want to come down, appeared to me as if they also told about his immortal work. I wanted to say, “You have already given us so much. You have already given us the greatest work that a painter can offer to his land.”
Only after his death I was in the UN and saw, in the dazzle of the heyday of his art, the Panel Guerra e Peace. Each figure appeared to me faceted as a precious stone, with its own light, and I meant to those people who walked through the lobby: “Look, there is our glory, the panel of our greatest painter. I was also born in Brazil, like him, Portinari.”

Dinah Silveira de Queiroz — Portinari Desenhista, MNBA/MASP, 1977.

Candido Portinari made us great with his work as a painter. He was one of the most important men of our time, because from his hands the color and poetry, drama and hope of our people were born. With his brushes, he touched our reality. The Brazilian land and the people — peasants, migrants, children, saints, circus artists, animals and landscapes — are the material with which he worked and built his undying work.

Jorge Amado — Portinari Designer, MNBA/MASP, 1977.

In these days of disorientation, the example of Candido Portinari's powerful art, so rich in meaning and technique, comes to us as a life-giving wind, demonstrating that the large Latin vein is not exhausted. On the contrary — he became rich in new themes, keeping himself alive thanks to the merit of a son of immigrants who believed that painting was a serious, arduous and useful craft to men.

Eugenio Luraghi — Exhibition of Candido Portinari, Palazzo Reale, Milan, 1963.

In the face of these crying and seahorses, who speak to the deepest of my soul, I feel in a state of absolute critical inhibition. All I can do is admire.

Manuel Bandeira — The inauguration of Portinari's canvases at the new headquarters of Rádio Tupi, A Manhã, Rio de Janeiro, 1942.

“From coffee, the human – understood in social and historical — becomes the keynote of the art of Candido Portinari, aimed at capturing natural and psychological reality. The new problem leads him, like the Mexicans, to muralism, in which he seeks to magnify a national image, based on work and Its rural roots (...) After 1947, his art meets a new modification: expressive drama and social concern are set aside, opening space for historical themes such as the first mass in Brazil and Tiradentes. (...) influenced by Jacques Villon, Portinari seeks a geometric rigor combined with a clear and sound palette, without masking the emptying that his painting had been suffering in recent years.” ECA/USP, 1977.

“When he began to address the theme of migrants, Candido Portinari still did not present remarkable social concerns. (...) Only later would this series assume a more accentuated social aspect. (...) This phase culminates with the screens retreating and the dead on the net, belonging to the MASP collection. (...) In any case, in its three distinct phases, the migrants will remain as some of the most significant and poignant works of Brazilian art of all times.”

Antônio Bento — Portinari, Rio de Janeiro: Leo Christiano, 1980.

“The World of Candido Portinari: As we move in it, we realize that we are not facing an imaginary world, but of the intensified recreation of the artist's homeland — Brazil. His paintings are the proof: in them we see the landscape, the ground and its workers, described with love. love for the man, for the woman, for the child — rich or poor — all worthy of their art.”

Rockwell Kent — in Candido Portinari, São Paulo: Finambrás, 1997.

“You cannot say that you have There was an official aesthetic, even if Candido Portinari was a painter of the state. The government only used support for Portinari as an example of patronage, recovering its work within a populist ideology. The dignity that the artist gives to the worker and the prominence of the popular character allowed this symbolic assimilation on the part of the power, even if his art maintained critical autonomy.” de Janeiro: Relume-Dumará, 1997.

“Candido Portinari begins to gain resonance in the Rio de Janeiro artistic scene between 1928 and 1931, a period after the most intense outbreak of modernism in Brazil. His work dialogues with countless visual traditions of European art — from the first Renaissance to Picasso — and demonstrates an amazing ability to absorb and reinterpret different styles. Back in Brazil, without the academic traits, Portinari was recognized by Mário de Andrade, Manuel Bandeira and Carlos Drummond as the main engine of the constitution of a national modern art, balancing innovation and Brazilian identity.”

Tadeu Chiarelli — Brazilian International Art, São Paulo: Lemos, 1999.

Testimonies

"Brazilian art will only be when our artists completely abandon useless traditions and surrender with every soul, to the sincere interpretation of our environment"
Candido Portinari
Interview originally published in the newspaper A Manhã in June 1926.
in Balbi, Marilia Portinari: The painter of Brazil. P. 26.

"I do not intend to understand politics. My convictions, which are deep, came to them because of my poor childhood, my life of work and struggle, and because I am an artist. I feel sorry for those who suffer, and I would like to help remedy the existing social injustice. Any conscious artist feels the same."
Candido Portinari
Testimony made to the poet Vinícius de Moraes and published posthumously, in March 1962. The painter of Brazil. São Paulo: Boitempo, 2003. p.12.

"I came to know Palaninho here, after having visited so many museums, so many castles and so many civilized people. There in Brazil, I never thought of Palaninho. From here I saw better my land - I watched Brodowski as she is. Here I don't feel like doing anything. I'm going to paint the palaninho, I'm going to paint those people with those clothes and that color. When I come back I will see if I can make my land. I wear varnish shoes, baggy pants and a collar, but in the background I'm dressed like the palaninho."
Candido Portinari
Let excerpt sent from his trip to Paris to Rosalita Candido Mendes. In BALBI, Marilia. Portinari: The Painter of Brazil. São Paulo: Boitempo, 2003. p. 28.

Portinari; his thoughts, his phrases

"I ran, I had time still catching the moving train. The last image that was etched in my memory was that of my father, he had risen to say goodbye, I can still see him... he didn't have time to tell me anything"...
Talking about his move to Rio de Janeiro.

"The target of my painting is the feeling. For me, the technique is merely a means. however an indispensable means"
in a statement that scandalized its academic masters of ENBA.

"The trip to Europe for a young man who observes is useful. We have time to retreat. We have the courage to get back to the starting point. I'm a boy"
About the values he learned from the years living in Paris.

"I'm with those who think there's no neutral art. Even without any intention of the painter, the painting always indicates a social meaning"
beginning to flirt with socialism.

"As for modern painting, it frankly tends to mural painting. With that, of course, I do not want to say that the easel frame loses its value, because the way of accomplishing does not matter"
explaining its change to the frescoes.

"And the cause of all this is still the government, that it is obstinate not to have, as in Mexico, a direct interest in the things of art"
in a complaint against the lack of government support for exhibitions and exhibitions.

"To honest men, to sincere Brazilians, to the patriots in fact is that I speak, so that they analyze this subject with coldness"
After completing the series of "retracting" canvases.

"They are preventing me from living"
Commenting on the medical orders that forbade him to continue painting so as not to aggravate his intoxication

"and so he had arranged the essentials, leaving the rest to the doctors of Byzantium, he abruptly shuts up and flies to Never-more the infinite hand, the blue-eyed-eyes of Candido Portinari"
Carlos Drummond de Andrade, in the poem "A Mão", dedicated to his friend on the occasion of his death.

Interviews

João Candido Portinari – Projeto Portinari / Agência FAPESP: 11/03/2010 / by Fábio de Castro

DAS Areas of Telecommunications and Mathematics Engineering, João Candido Portinari left his academic career aside 35 years ago, when he decided to dedicate himself fully to a grandiose project: locating, digitizing and cataloging the more than 5,000 works of his father, Candido Portinari (1903-1962), one of the main Brazilian artists.

The Portinari Project managed to make practically all the artist's work available in digital form. According to João Candido, the initiative is a way of correcting a perverse consequence of the importance and recognition of his father's work: with most of his paintings dispersed in private collections around the world, the painter who dedicated his life to portraying the people has his work. Inaccessible to the general public.

After 20 years of research, qualified by João Candido as “a true work of detective”, the entire work was cataloged. In the last 13 years, Projeto Portinari has publicized the work of the painter throughout Brazil, holding itinerant exhibitions in remote communities, with a special focus on children.

The next step of the project will be great: to bring back to Brazil, temporarily, the work Guerra and peace: two 14 meters high panels that were designed especially for the United Nations Headquarters in New York.

With the headquarters undergoing a major renovation, the Portinari Project managed to keep the two panels up until 2013. The work, completed in 1956, was the last of Portinari and caused his death. During the five years he worked on the 140 square meter panels, the painter was already intoxicated by the lead in oil paints. He would die in early 1962 as a result of the poisoning.

Considered by Portinari himself as his best work, the panels of War and Peace will be presented in December, at the Municipal Theater of Rio de Janeiro, the city where they were presented to the Brazilian public by A single time before being shipped to the United States 53 years ago. Then they will be submitted to a restoration that can be accompanied by the public, in a process that will take a few months. After the restoration, they will pass through several cities, accompanied by 120 preparatory studies carried out by Portinari between 1952 and 1956.

On October 21, an exhibition with reproductions of the 25 works by Portinari that The 2009 FAPESP Activities Report 2009 was inaugurated at the Foundation's headquarters in São Paulo. On the occasion, João Candido granted the FAPESP agency the following interview:

The Portinari Project digitized practically all of his father's works. What were the difficulties encountered in carrying out the survey of such an extensive work?
It is actually an extensive work. We managed to catalog more than 5,000 works. This number corresponded to the estimate we had, before starting the work, that he would have produced a job every three days, on average, for about 40 years, including the large panels and murals that took several months or years to be carried out. When we started the survey, the situation was dramatic, because the whereabouts of most of the works were unknown, there was no museum, no catalog and the books about his life and work were exhausted.. it was a detective work that consumed many years, because it is a work dispersed not only in collections private companies in Brazil, but in several countries. We find works in the Americas, Finland, former Czechoslovakia, Canada, South Africa, Israel, Haiti and many other countries.

How long has this process taken?
This phase of tracking activity, Location, cataloging and digitization completely consumed the first 20 years of the project. It was an adventure that was only successful thanks to the solidarity of Brazilian society. This immense work was not restricted to the survey of the works, we also managed to gather more than 30 thousand documents.

What is the nature of this documentation?
All kinds of documents, including 9,000 letters that Portinari exchanged with intellectuals and artists of his time, such as Mario de Andrade, Manuel Bandeira, Graciliano Ramos, José Lins do Rego, Luís Carlos Prestes, Heitor Villa-Lobos, Cecília Meirelles, Jorge Amado, Carlos Drummond de Andrade and many others. It is an extraordinary treasure. In addition, we have 12,000 periodical clippings ranging from 1920 to the present day. In addition to compiling this material, we also produce new documents. We made an oral history program that, over the years, interviewed 74 contemporaries of Portinari. This resulted in 130 hours recorded on video, which are not restricted to commenting on Portinari or Art, but also addresses aesthetic, cultural, social and political concerns of that generation. All this is embodied on a website, where anyone can find all the documentation.

Does the Portinari project have a physical headquarters or focus on the virtual universe?
Our headquarters are at PUC-RJ, in Rio de Janeiro, but you are right to say that It is something primarily virtual. The project could be anywhere, as we don't have any original work, we just gather the contents and research on the artist. In the future, we designed to create a Portinari Museum, in which the public could have contact, in one place, with all the artist's work. We would do this with reproductions printed in high definition. We evaluated that gathering high quality reproductions of the 5,000 works would be cheaper than making a museum with only ten original works. That's what FAPESP did with the exhibition of reproductions currently at its headquarters.

We can say that, in relation to the size of his work, Portinari is little known?
Yes, this was one of the main motivations for the project and is also What inspires us the dream of one day having a Portinari museum. My father said that his work was dedicated to the people, but his fate was the victim of a perverse irony: today, the people do not have access to his work, which is dispersed in private collections and museums in various parts of the planet. This motivated Antonio Callado's questioning: “Segregated in private collections, in bench rooms, Candinho becomes invisible. Will our greatest painter continue, like Tiradentes que Painted?”.

With the Conclusion of the cataloging and digitization of the works, the Portinari project fulfilled its mission?
No, on the contrary, we consider that the real work started from the moment we had all the contents raised, cataloged, crossed each other and thoroughly researched. Since then, we have developed a series of actions. The most important of them is the work with children, carried out in the last 13 years: the Brazil of Portinari.

How is this work developed?
We travel through schools, cultural centers and city halls in all Brazilian states. We also visited hospitals, riverside populations and prisons. But the priority is to present the work to the children. We took, for example, an excursion in the Pantanal receiving children for an exhibition on a boat. In 2009, we partnered with the Navy and toured the Amazon and its tributaries, staying 19 days in the Purus River. On ships, residents of very precarious villages have contact with Portinari's work and receive medical and dental assistance, take documents, among other activities.

What is the reaction of children?
Sometimes children have a visual perception well. sharper than that of adults. They get involved a lot and immediately understand what the painter says. The result has been an extraordinary success. We seek to encourage the child to reflect on the reality of the world. The idea is to put them in contact with the work of Portinari and his powerful message of non-violence, fraternity, solidarity, compassion and respect for the sacred of life. None of this would be possible with a work that did not have the strength of Portinari's work.

Can we say that Portinari's work force comes from the concern with the social issue?
Yes and this is very interesting. My father's work was characterized by incessant experimentalism – to the point that critics said that in his work there are a dozen different painters. But the theme is always the same: the deep social concern. He was changing the style and the form of expression. He gave importance to the technique, he said that without it it is impossible to express what is going on in the soul, but he highlighted that his theme was man. This deep desire for solidarity and compassion is invariably present in his work.

The excluded is the central character of the painter's work?
The excluded is an absolutely central character. He lived in a coffee region in the interior of São Paulo, which was the passage of migrants who came from the Northeast. This indelibly impressed the retinas of that boy who witnessed the tragedy of families traveling in inhumane conditions. This experience aroused in him, in a very early way, a feeling of unconditional solidarity with the excluded. I would say that this feeling of solidarity – and of revolt and denunciation against violence and injustices – is one of the most fundamental characteristics to understand Portinari. This focus on exclusion would find its maximum synthesis in his last work, the monumental Panels Guerra e Paz. There, the excluded is the entire human species, subjected to the scourge of war and excluded from peace.

What are the other important themes in Portinari?
Based on this axis of concern for social exclusion, his theme is very comprehensive, addressing universal issues and also bringing a large portrait of Brazil. Something that few people know, for example, is that Portinari was one of the greatest sacred painters in the world. It's extraordinary how Christ and the biblical scenes painted so many times. A sacred production that led Alceu Amoroso Lima – a great Catholic thinker – to raise an intriguing paradox: how a communist painter like Portinari did the sacred painting with such fervor. Paradox?
The amorous Lima himself concluded that there was no paradox when he went to Brodowsky, Portinari's hometown, visit his home. Knowing the painter's mother, grandmother and aunts, he understood that it was a typical Italian matriarchal family, with fervent Catholics. And he realized that there was no contradiction: Portinari was a man of ancestral mysticism and never abandoned it. He refused to follow the directives of the Russian Communist Party that socialist painters should follow the canons of socialist realism. Luis Carlos Prestes, who was his friend, had the greatness of perceiving this dimension and not making any restrictions on my father in the Communist Party.

In addition to the religious theme, what is more present in his work? Disadvantaged, Portinari became one of the greatest black painters in the Americas. This was said by Assis Chateaubriand, who wrote a text about the presence of Africa in my father's work: “Portinari is the greatest and most fantastic black painter who still saw the human species. another brush artist.” Childhood is also a recurring theme. Childhood is in his poetic, lyrical work. Because it is a childhood in the interior of Brazil, which, despite being poor, is passed under the stars, in the bush, playing in the street with animals. This is in his work in a very rich way, impregnated with poetry. Another element is work. The worker is a topic that runs through his entire trajectory. All this was approached in a way that always presents a dialectic between drama and poetry, between fury and tenderness and between the tragic and the lyrical. At any point in Portinari's trajectory, we will see this dialectic.

You are a researcher in the telecommunications engineering field. How was your academic career? Do you still work in the area?
I studied mathematics in France and there I applied for engineering schools and graduated in telecommunications. I did my PhD at the Massachusetts Institute of Technology (MIT), still in the area of electrical engineering, but with my interest all focused, again, on mathematics. After finishing his PhD, after ten years outside Brazil, in 1966 I was invited by PUC in Rio de Janeiro to help create his mathematics department. I was 28 years old. The following year I was director of the Department and was fully absorbed in research, teaching and administration for 13 years. In 1979 we designed the Portinari Project. I quickly saw that it would be impossible to reconcile the two activities, because the project was unfolding and, unfortunately, I had to give up mathematics. Fala Cultura

For 54 years, the most powerful work of Cândido Portinari – the panels Guerra e Paz – left Brazil on the way to its definitive home: the headquarters of the United Nations in New York.

Now, for the first time in more than half a century, the people – first in Brazil, and then, of the world – will be able to personally see all human strength, and the great message of hope and peace painted on the great panels. Thanks to the work of Projeto Portinari, the work will tour several cities, until the year 2013, when it will be returned to the UN.

War and Peace are two panels of approximately 14 by 10 meters each, oil painted on plywood. naval. While one represents all the evils and horrors of the war, the second represents an eterea and hopeful view of the peacetime, creating a significant contrast.

The work was commissioned by the Brazilian government, to present the UN, and received four years of dedication from Cândido. Portinari – who worked incessantly to complete them, despite already knowing that he was being poisoned by the toxins present in their paints. Involvement with the Communist Party, he was prevented from entering the US, which was experiencing the period of the Cold War.

For security reasons, the lobby of the UN building, where the panels were installed, is an environment quite inaccessible to the public. However, now, with the announcement of a major renovation of the United Nations building, an unprecedented opportunity has arisen to exhibit the panels in other countries.

In 2010, Guerra e Paz finally arrived in Brazilian lands. Then, they remained on display at the Municipal Theater of Rio de Janeiro – which referred to the ceremony held before the panels left for New York, in 1956, in the same theater. In 12 days, the exhibition attracted more than 44,000 visitors.

From tomorrow (7), it will be São Paulo's turn to see the great work. The chosen location is the Hall of Acts, at the Latin America Memorial. In addition to the panels – which will be exhibited for the first time after its restoration – the public will be able to enjoy 100 original preparatory studies for the work. The exhibition will remain open until April 21.

To mark this remarkable moment in the visual arts of our country, we talked exclusively with João Cândido Portinari, son of Cândido Portinari and director of Projeto Portinari. Check it out:

I imagine that the process of bringing war and peace to Brazil must have been quite complicated, both due to the dimensions of the work and the negotiations involved. Tell us a little about all this work.
Well, the whole process started ten years ago, in 2002. Preparatory together with the panels, there at the United Nations headquarters.
It turns out that the terrorist attacks against the World Trade Center were very recent, it was only the previous year, and the safety standards were stricter. So we realized that it would be unfeasible to hold the exhibition in that space.
In 2007, I returned to New York to deliver the book on war and peace to each of the UN delegates. These were a way of taking the panels out of the “closet”, bringing them to light again.

Bring them to the surface?
Exactly. The panels live a paradox. They are “invisible”, inaccessible to the public.
You know that traditionally, it is the Brazilians who open the UN sessions, with a speech. I researched, read each of these speeches, and none of them cited War and Peace. It was only in 2007 that President Lula ended his speech at the United Nations with a quote to the work.
“When entering this building, delegates can see a work of art given Brazil to the United Nations for 50 years. This is the murals 'war' and 'peace', painted by the great artist Cândido Portinari (…) of the United Nations. Brazil will continue to work to make this high expectation become a reality.” (Luís Inácio Lula da Silva, in a speech at the UN, in 2007)
Guerra e Paz proves that Portinari does not work with the abstract, the work brings a very strong ethical message, which remains current, perhaps even more valid than ever.

And when did the idea of bringing the panels to Brazil come about?
When I went to the UN in 2007, to deliver the books to the delegates, I learned of the renovation of the building, which would be from 2009 to 2013. I returned to Brazil, I realized that that would be a unique opportunity to get the custody of the panels during the period of the renovation.
We contacted the government, and Minister Celso Amorim made an official request to the UN. Of course, in order to get the Guard of War and Peace, they made many demands, such as the restoration of the panels and an insurance. In this process, the support of the Government was essential, and especially the efforts of Vice President José de Alencar.
We managed to fulfill all the requirements, and, on December 22, 2010, we held a ceremony at the Municipal Theater of Rio de Janeiro. This ceremony reminded me a lot of the inaugural ceremony of 1956, which I was present, which was also at the Municipal Theater and was attended by President Juscelino Kubitchek.
After the brief exhibition at the Municipal Theater, which attracted more than 44,000 visitors, the Work went on to restore in an open studio, also in Rio de Janeiro. Now, in São Paulo, it will be the first time that it will be exposed with the preparatory studies.

What about the Portinari project? It is a recurring subject to the difficulty faced in maintaining the legacies of Brazilian artists – and, in this scenario, the Portinari project is an example of success. What's the secret, in your opinion?
We've been working on the project for 33 years, and it's a struggle to keep you on your feet. Support for culture in Brazil is still complicated. But we have already achieved great achievements: for example, we cataloged 5,200 works and 30,000 documents related to Portinari, and we made a large part of this material available on the Portinari Project website, open, free and which is very consulted.
“War and Peace It brings a very strong ethical message, which remains current, perhaps even more valid than ever before.” I think that one factor that helped a lot in the continuity of the project is the Brazilian's own natural solidarity. We always find a lot of support, both to bring Guerra e Paz and others, which was essential.
Another determining factor is that the Portinari Project was born and created at the university. Interestingly, many projects pass off the university. But this proximity to the university environment allows for a constant innovation, we are always in touch with all the news, including science and technology that can be applied to our project.

Just to close our interview, is there any message that you would like to leave to our readers from São Paulo, than they Can you wait for the exhibition that starts tomorrow?
that they won't stop going, because it is very exciting. Certainly, they will leave the exhibition carrying this message of humanity, and with a broader vision.

A historic and unique moment

Together with auxiliaries, Portinari paints the panels "Guerra" and "Paz", in the TV Tupi warehouse, In Rio de Janeiro, in 1955.
Globo Comunicação e Participações S.A.

“The panels Guerra e Paz undoubtedly represent the best work I have ever done. I dedicate them to humanity”.
Candido Portinari.

The phrase, said by Brazilian artist Candido Portinari (1903-1962), tries to explain the grandeur of the panels that are on display at the Memorial da América Latina, in São Paulo, until May 20, 2012. 14 meters high by 10 meters wide and weigh more than 1 ton, but the grandeur of the works cannot be measured only by the size of the panels, but by the touching message of peace that is destined for the world.

“This is not just an exhibition of art. This is A great ethical and humanist message that addresses the main problem that the world is experiencing today: the question of violence, non-cidence, social injustice. This is the great message of Portinari's entire life and that was summarized in these final works that he left”, said João Candido Portinari.

João Candido, son of the artist, is responsible for carrying out the project, which brought the works to Brazil.

Ended in 1956, the works remain current. The expressions of suffering of the mothers on the panel that shows the war, for example, can be compared to photos of mothers who recently suffered in the conflict in Syria. According to João Candido, this comparison was made by a Uberlândia (MG) who visited the exhibition and sent him, by e-mail, a photomontage comparing his mother Syria to Portinari's painting. Guerra”, said João Candido.

All the work that resulted in War and Peace was produced by Candido Portinari between 1952 and 1956. The work was commissioned by the Brazilian government to present the headquarters of the United Nations (UN), In New York, where the panels were installed in the entrance hall, with restricted access to the public.

A major renovation of the UN headquarters building, which began in 2010, gave the unprecedented opportunity to bring these panels to Brazil. The first stage of the exhibition took place in Rio de Janeiro, in December 2010, bringing together more than 44,000 visitors. In São Paulo, more than 150,000 people have already visited Guerra e Paz. By 2014, the works will be on display around the world, until they return permanently to the UN headquarters. The immense panels could only be transported because Guerra e Paz consists of a kind of puzzle, composed of 28 plates of naval plywood. In Brazil, the works underwent a restoration process, carried out between February and May 2011 at the Gustavo Capanema Palace, in Rio de Janeiro. newspaper clippings and photographs that tell, in detail, the creation of the panels.

João Candido was only 13 years old when the father started the works.

“I saw an act of heroism. Of course, at that time I was unable to realize this. I only saw a man who painted from morning to night, in extremely arduous conditions. He worked in a shed that was an old television studio, borrowed by Radio Tupi, without windows, with a zinc roof and reaching a temperature of 45 degrees Celsius. He took lemonade all the time to try to survive”, he recalls.

According to João Candido, his father spent four years doing his studies for the works and painted them in just nine months.

War and peace were the last two and biggest panels created by Portinari. While doing the preparatory study for the two panels, doctors advised him to stop painting because of the paint poisoning process. Portinari rejected the medical advice.

“It was fatal. There was that medical ban, which he did not respect. 1962, Portinari died as a result of the lead poisoning present in the paints he used.

The gigantism of the works impresses the public. Retired teacher Nilsa Papaleo visited the exhibition last Friday (11).

“I am delighted to see how a person can make an art of that size. I was amazed [to know] how they transported it, since it is a huge panel. It's like a puzzle, all divided, that they disassemble. It's very beautiful, impactful”, she told Agência Brasil. For her, the works present the society in which we live. "And it's still the same."

Doctor Luiz Martinelli had already seen the work at the UN.

“But seeing it here is different. We are at home. In our country it is different. It is more enjoyable”, he said. “Particularly I like Peace better. I am of peace”, he joked. “In the war, we see people suffering. It is a more shocking image. Peace is always more beautiful.”

After receiving a tip from a teacher, who said the work was from the UN, student Pablo de Lima Almeida decided to go to the exhibition with a group of friends. To Agência Brasil, he told that he liked the panel that portrays peace more. “It's prettier,” he said.

Retired Cristina Figueiredo, who has always liked art, decided to visit the exhibition before she finished. The impact of the works, according to her, is great.

“I had seen Guernica, by Picasso, which is also impressive. “I read somewhere that he (Portinari) portrays the war as something that has always belonged to humanity. It does not portray a (single) war, as is the case of Guernica, which addresses the Spanish civil war. It portrays the war that has always existed in humanity and that, unfortunately, continues Existing”, he said.

This great message from the artist Candido Portinari to the world, the immense panels that form the work Guerra e Paz, should remain in Brazil for a longer time than expected. At the Latin America Memorial, in São Paulo, where it is currently on display, the exhibition was extended until May 20, with free admission. Afterwards, it should be destined for the capital of Minas Gerais, Belo Horizonte (MG), before crossing the ocean, probably heading to Norway and China.

Elaine Patricia Cruz
Agência Brasil Reporter - 13/05/2012 - 16:23. Edition: Fábio Massalli
More information about the exhibition can be found at www.guerraepaz.org.br
War and Peace, a great message from Portinari to the world, was on display in SP until May 20, 2012.

Main features of Candido Portinari's works

portraised social issues in Brazil;
Used some artistic elements of European modern art;
His works of art reflect influences of the surrealism, cubism and the art of Mexican muralists;
Figurative art, valuing the traditions of painting.

Main works by Candido Portinari

Environment coffee
mestizo
slums
The Coffee Farmer
The Brodowski Shoemaker
Boys and Spears
Laundresses
Groups of Girls Playing
Boy with Sheep
Scene Rural
The First Mass in Brazil
Saint Francis of Assisi
Os Retirantes

Chronology, exhibitions and awards

1910 ca. - Carries out the first studies in a rural school in Brodowski, São Paulo
1913 ca. - It starts with painting, helping in the decoration of the Mother Church of Brodowski
1918/1962 - Fixed a residence in Rio de Janeiro
1919 - Study at the Liceu de Artes e Ofícios in Rio de Janeiro
1919/1928 - He studies at the National School of Fine Arts (ENBA), where he is studying figurative drawing with Lucilio de Albuquerque (1885-1962) and painting with Rodolfo Amoedo (1857-1941), Baptista da Costa (1865-1926). In recent years, he is a student of Rodolfo Chambelland (1879-1967)
1929/1930 - with the award for travel abroad, which he receives at the 35th General Exhibition of Fine Arts, leaves for Paris. Visit to England, Italy and Spain, visiting museums and galleries. Meet the painters Van Dongen and Othon Friesz
1936 - Executes the first mural for the Road Monument, on the Rio-São Paulo Road
1936/1938 - occupies the chair of mural and easel at the Instituto de Art from the University of the Federal District, Rio de Janeiro, organized by Anísio Teixeira. Among his students, Burle Marx (1909-1994) and Edith Behring (1916-1996) stand out,
1938 - is invited by Minister Gustavo Capanema (1902-1998) To paint a series of frescoes for the new building of the Ministry of Education and Culture (MEC) in Rio de Janeiro, designed by Lucio Costa (1902-1998) York
1939 - Participates in the São Paulo Artistic Family (FAP)
1940 - The academic magazine dedicates a special number to it with reproductions of his works and testimonies about the artist
1940 - The University of Chicago publishes the first book on the Artist, Portinari: His Life and Art, with an introduction by the artist Rockwell Kent
1940/1959 - illustrates the books A Absente Mulher, by Adalgisa Nery (1940); Maria Rosa, by Vera Kelsey (1942); Posthumous Memories of Brás Cubas and O Alienista, by Machado de Assis (1943 and 1948); A Selva, by Ferreira de Castro (1955); Menino de Engenho, by José Lins do Rego (1959); Power and Glory by Graham Greene (1959); Terre Promisse and Rose de Septembre, by Andre Maurois, and Poetic Anthology, by Nicolas Guillén (1961), among others
1941 - executes frescoes for the Hispanic Foundation of the American Library of Congress, Washington D.C.
1942/1943 - Paints the biblical series for Rádio Tupi, São Paulo
1943 - executes new murals for the Ministry of Education and draws the tiles for the exterior decoration of the building
1944 - Makes a mural and tiles on the life of São Francisco for the Chapel of Pampulha, Belo Horizonte. The following year, he held Via Sacra for the same church
1944 - creates 40 costumes and five screens for the ballet Iara, from the original Ballet Russe company, whose staging is prohibited by the Department of Press and Propaganda (DIP)
1945 and 1947 - Candidate for deputy and senator for the Brazilian Communist Party (PCB), but fails to get elected
1946 - Receives the legion of honor of the French government
1947/1948 - with The impeachment of the PCB, to which he is affiliated by the Brazilian government, travels to Montevideo to escape the persecution of the communists
1948 - Pinta, in tempera, the panel The First Mass in Brazil, for the Boavista Bank of Rio de Janeiro
1949 - paints mural Tiradentes
1950 - Receives the gold medal awarded by the Jury of the International Peace Prize by the Tiradentes Panel (1949)
1952/1956 - Executes the panels War and Peace, for The headquarters of the United Nations (UN) in New York
1953 - paints a series of canvases for the Mother Church of the city of Batatais, São Paulo
1954 - executes a panel dedicated to the founders of the State of São Paulo for the newspaper O Estado de S. Paulo
1954 - Conducts, for the Portuguese Bank of Brazil in Rio de Janeiro, the panel Discovery of Brazil
1955 - receives the gold medal awarded by the International Fine Arts Council, New York, as the best painter of the year
1956 - Travels to Israel at the invitation of the Association of Museums and the Brasil-Israel Cultural Center. Designs landscapes and people from the regions he travels, gathered on the album Israel, published by Abrahams publishing house and by industrialist Eugênio Luraghi
1956 - on the occasion of the inauguration of his panels at the UN headquarters, he receives the Guggenheim Award
1957 - Receives an honorable mention at the International Watercolor Contest of the Hallmark Art Award, New York
1957 - Starts writing the Memoirs Retalhos of my childhood life
1958 - is invited to receive the Gold Star, Brussels, Belgium
1958 - writes a book of poems edited by José Olympio in 1964, with introductory texts by Antonio Callado (1917-1997) and Manuel Bandeira (1886-1968)
1959 - Paints the Inconfidência Mineira mural for Banco Mortagem and Agrícola de Minas Gerais S/A, Rio de Janeiro
1960 - Executes panels for the Boston Bank, São Paulo
1970 - The artist's former residence in Brodowski is transformed into the Casa de Portinari Museum
1974 - Launch in Geneva of four commemorative stamps that reproduce details of the panels Guerra e Paz
1979 - João Candido, son of the painter, implements the Portinari project, which brings together a vast documentary collection about the artist's work, life and time. The Portinari Project is headquartered on the PUC/RJ campus
2003 - PORTI-NARI: A Ópera, at the Teatro do Sesc Ipiranga, São Paulo, in honor of the artist's centenary

Cervos

Acervo Banco Itaú S.A. - São Paulo SP
Itaúsa Collection - Investimentos Itaú S.A. - São Paulo SP
Pinacoteca Collection of the State of São Paulo - São Paulo SP
Visual Arts Collection of the Institute of Brazilian Studies - IEB/USP - São Paulo SP
Brazilian Central Bank Collection - Brasília DF
Gilberto Chateaubriand Collection - MAM/RJ - Rio de Janeiro RJ
Collection Museum of Contemporary Art of the University of São Paulo - MAC/USP - São Paulo SP
Memorial Foundation of Latin America - São Paulo SP
Church of São Francisco de Assis - Belo Horizonte MG
Library of Congress - Washington (United States)
National Museum of Bellas Artes - Buenos Aires (Argentina)
Museum of Modernart - MoMA - New York (United States)
São Paulo Museum of Art Assis Chateaubriand - MASP - São Paulo SP
National Museum of Fine Arts - MNBA - Rio de Janeiro RJ
Organization United Nations - UN - New York (United States)
Gustavo Capanema Palace - Rio de Janeiro RJ
Itamaraty Palace - Brasília DF

Individual exhibitions

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1929 - Rio de Janeiro RJ - Candido Portinari: Painting at Palace Hotel
1931 - Rio de Janeiro RJ - Individual, at Palace Hotel
1932 - Rio de Janeiro RJ - Individual, at Palace Hotel
1933 - Rio de Janeiro RJ - Individual, at Palace Hotel
1934 - Rio de Janeiro RJ - Individual, at Palace Hotel
1934 - São Paulo SP - Individual, at Rua Barão de Itapetininga, nº 6
1935 - Rio de Janeiro RJ - Individual, at Palace Hotel
1936 - Rio de Janeiro RJ - Individual, at Palace Hotel
1939 - Rio de Janeiro RJ - Candido Portinari: retrospective, at MNBA
1940 - North Carolina (United States) - National Art Week: Portinari, at the University of North Carolina. Chapel Hill
1940 - Detroit (United States) - Individual, at The Detroit Institute of Arts
1940 - New York (United States) - Candido Portinari's Exhibition, at Riverside Museum
1940 - New York (United States) - Portinari of Brazil, at MoMA
1941 - Chapel Hill (United States) - Candido Portinari's Exhibition, at Person Hall Art Gallery
1941 - Denver (United States) - Candido Portinari's Exhibition at the Denver Art Museum
1941 - Grand Rapids (United States) - Murals by Candido Portinari, Grand Rapids Art Gallery
1941 - Indianapolis (United States) - Murals by Candido Portinari, at the John Herron Art Museum
1941 - Kansas City (United States) - Candido Portinari's Exhibition, at William Rockhill Nelson Gallery of Art
1941 - Minneapolis (United States) - Candido Portinari's Exhibition, at The Minneapolis Institute of Art
1941 - New Orleans (United States) - Murals by Candido Portinari, at the Isaac Delgado Museum of Art
1941 - Newport News (United States) - Individual, at the Hampton Woman's Club House
1941 - Pittsburg (United States) - Murals by Candido Portinari, at the Carneggie Institute
1941 - Saint Louis (United States) - Murals by Candido Portinari, Saint Louis Art Museum
1941 - San Francisco (United States) - Murals by Candido Portinari, at the Fine Arts Museums of San Francisco
1941 - Syracuse (United States) - Candido Portinari's Exhibition, at the Museum of Fine Art
1941 - Terre Haute (United States) - Candido Portinari's Exhibition, at Indiana State Teachers
1941 - Washington (States) United States) - Individual, at Howard University Gallery of Art
1943 - Rio de Janeiro RJ - Exhibition of Painting Candido Portinari, at MNBA
1944 - Washington (United States) - Paintings by Candido Portinari of Brazil: First Anniversary Exhibition, at The Barnett Aden Gallery
1946 - Paris (France) - Candido Portinari: Retrospective National Museum of Art of Paris
1946 - Paris (France) - Individual, at the Galerie Charpentier
1947 - Buenos Aires (Argentina) - Individual, at Salón Peuser
1947 - Montevideo (Uruguay) - Exposición Portinari, in the Hall of the National Commission of Fine Arts
1947 - Washington (United States) - Portinari of Brazil, at the Pan American Union Gallery
1948 - Buenos Aires (Argentina) - Oils, Monotypes and Dibujos de Candido Portinari, at the Sociedad Hebraica Argentina
1948 - Montevideo (Uruguay) - Individual, at the Solis Theater
1948 - São Paulo SP - Portinari: 1920-1948, at MASP
1949 - Rio de Janeiro RJ - Exhibition of the Tiradentes de Candido Portinari mural, at MAM/RJ
1949 - São Paulo SP - Exhibition of the Tiradentes de Candido mural Portinari, at MAM/SP
1952 - Rio de Janeiro RJ - Arrival of D. João VI in Bahia, at Automóvel Clube do Brasil
1953 - Rio de Janeiro RJ - Individual, at MAM/RJ
1954 - Salvador BA - Portinari: Exhibition commemorating the fiftieth anniversary of the painter, at Galeria Oxumaré
1954 - São Paulo SP - Individual, at Masp
1956 - Ein Harod (Israel) - Portinari: Paintings and Drawings 1940-1956, at the Museum of Ein Harod
1956 - Haifa (Israel) - Portinari: Paintings and Drawings 1940-1956, at the Museum of Modern Art
1956 - Jerusalem (Israel) - Candido Portinari: Oil Paitings and Drawings 1940-1956, at The Bezalel National Art Museum
1956 - Jerusalem (Israel) - Portinari: Paintings and Drawings 1940-1956, at The Bezalel National Art Museum
1956 - Tel Aviv (Israel) - Portinari: Paintings and Drawings 1940-1956, at the Tel Aviv Museum of Art
1957 - Cologne (Germany) - Individual, at Haus der Kulturinstitute
1957 - Munich (Germany) - individual, at the Haus der Kulturinstitute
1957 - Paris (France) - individual, at the Maison de la Pensée Française
1957 - Rio de Janeiro RJ - War and Peace of Portinari: Panels for the UN, at the Municipal Theater
1958 - Belo Horizonte MG - Israel: Drawings by Portinari, at MAP
1958 - Bologna (Italy) - Israel: Drawings by Portinari, at the Galleria del Librario
1958 - Lima (Peru) - Israel: Drawings by Portinari, at the Institute of Contemporary Art
1958 - Porto Alegre RS - Exhibition Portinari, at Margs
1958 - Rio de Janeiro RJ - Israel: Drawings by Portinari, MAM/RJ
1958 - São Paulo SP - Israel: Drawings by Portinari, at MAM/SP
1959 - Buenos Aires (Argentina) - Israel: Drawings by Portinari, at the Museo Nacional de Bellas Artes
1959 - Moscow (Soviet Union, current Russia) - Exposition Portinari, at the House of Friendship with Foreign Peoples
1959 - New York (United States) - Individual, at the Wildenstein Gallery Gallery
1960 - Bratislava (Thecolosváquia, current Slovakia) - Individual, at Galerie Nacionale
1960 - BRNO (Thecolosváquia, current Czech Republic) - Individual, at Kunsthaus
1960 - Moscow (Soviet Union, current Russia) - Candido Portinari: Photographic exhibition of 70 works by the painter, in the house of friendship with foreign peoples
1960 - Prague (Techolosváquia, current Republic Czech) - Individual, at Galerie Manes
1960 - Rio de Janeiro RJ - Exhibition Portinari, at Galeria Bonino
1961 - Rio de Janeiro RJ - Individual, at the Bonino Gallery
1961 - São Paulo SP - Portinari: 58 drawings, at the plastic artist's house

Collective exhibitions

1922 - Rio de Janeiro RJ - 29th General Exhibition of Fine Arts, at Enba - Honorable Mention
1923 - Rio de Janeiro RJ - 30th General Exhibition of Fine Arts, at ENBA - Bronze Medal and Acquisition Award
1924 - Rio de Janeiro RJ - 2nd Spring Hall, at the Liceu de Artes e Ofícios
1924 - Rio de Janeiro RJ - 31st General Exhibition of Fine Arts, at ENBA
1925 - Rio de Janeiro RJ - 32nd General Exhibition of Fine Arts, at ENBA - Small silver medal
1925 - Rio de Janeiro RJ - 3rd Salon da Primavera, at the Lyceum of Arts and Crafts
1926 - Rio de Janeiro RJ - 33rd General Exhibition of Fine Arts, at ENBA - Great Silver Medal
1927 - Rio de Janeiro RJ - 34th General Exhibition of Fine Arts, NA ENBA - Exterior Travel Award
1928 - Rio de Janeiro RJ - 35th General Exhibition of Fine Arts, at Enba
1929 - Rosario (Argentina) - 11th Rosario Salon, Municipal Comisión de Bellas Artes
1930 - Paris (France) - Exposition d'Art Brésilien, at Foyer Brésilien
1931 - Rio de Janeiro RJ - Revolutionary ENBA
1933 - Rio de Janeiro RJ - 3rd Salão da Pró-Arte, at Enba
1933 - São Paulo SP - 2nd Spam Modern Art Exhibition, at the Palacete Campinas
1934 - Rio de Janeiro RJ - 4th Pro-Arte Salon, at ENBA
1935 - Pittsburgh (United States) - The 1935 International Exhibition of Painting, at the Carnegie Institute - 2nd Honorable Mention Award by Tela Café
1935 - Rio de Janeiro RJ - Social Art Exhibition, at the Clube de Cultura Moderna
1935 - São Paulo SP - 2nd São Paulo Salon of Fine Arts
1936 - Cleveland (United States) - The 1935 International Exhibition of Painting
1936 - Toledo (United States) - European Section of the Thirdty-Third Carnegie International Exhibition of Paintings, at The Toledo Museum of Art
1937 - São Paulo SP - 1st Salon of May, at Esplanada Hotel de São Paulo
1939 - New York (United States) - Art in Our Time, at MOMA
1939 - New York (States) United States) - Pavilion of Brazil, at the New York World's Fair
1939 - São Paulo SP - 2nd Salon of the São Paulo Artistic Family, at Automóvel Clube
1940 - New York (United States) - 2nd Latin America Exhibition of Fine Arts, at the Riverside Museum
1940 - New York (United States) - Exhibiton of Modern Paintings, Drawings and Primitive African Sculpture from the Collection of Helena Rubinstein, in The Mayflower Hotel
1940 - Washington (United States) - Exhibiton of Modern Paintings, Drawings and Primitive African Sculpture from the Collection of Helena Rubinstein, at The Mayflower Hotel On the Park
1941 - São Paulo SP - 1st Art Salon of the National Industry Fair, at Água Branca Park
1942 - Milwaukee (United States) - Festival of Latin American Art, at the Milwaukee Center
1943 - São Paulo SP - Anti-Axis Exhibition, at the Prestes Maia Gallery
1943 - London (England) - Brazilian Art Exhibition, at Burlington House
1943 - Rio de Janeiro RJ - Exhibition Anti-shaft, at the Itamaraty Palace. Historical and Diplomatic Museum
1944 - Belo Horizonte MG - Exhibition of Modern Art, in the Mariana Building
1944 - Buenos Aires (Argentina) - Portinari and Chirico, at the Comte Gallery
1944 - Chicago (United States) - Art of the United Nations, at The Art Institute of Chicago
1944 - London (England) - Exhibition of Modern Brazilian Paintings, at the Royal Academy of Art 1944 - Norwich (England) - Exhibition of Modern Brazilian Paintings, at Norwich Castle and Museum
1944 - New York (United States) - Art in Progress, at MOMA
1945 - Baht (England) - Exhibition of Modern Brazilian Paintings, at the Victory Art Gallery
1945 - Bristol (England) - Exhibition of Modern Brazilian Paintings, at the Bristol City Museum & Art Gallery
1945 - Buenos Aires (Argentina) - 20 Brazilian artists, at the National Salones de Exposición
1945 - Edinburgh (Scotland) - Exhibition of Modern Brazilian Paintings, at the National Gallery
1945 - Glasgow (Scotland) - Exhibition of Modern Brazilian Paintings, at Kelingrove Art Gallery
1945 - La Plata (Argentina) - 20 Brazilian artists, at the Provincial Museum of Bellas Artes
1945 - Manchester (England) - Exhibition of Modern Brazilian Paintings at Manchester Gallery
1945 - Montevideo (Uruguay) - 20 Brasileños artists, at the Municipal Culture Committee
1945 - Rio de Janeiro RJ - Plastic artists of the Brazilian Communist Party, at the student's house
1945 - Santiago (Chile) - 20 Brazilian artists, at the Universidad de Santiago de Chile
1946 - Rio de Janeiro RJ - Beneficence Exhibition, at IAB/RJ
1946 - Rio de Janeiro RJ - The painters go to the Escola do Povo, at Enba
1950 - Rio de Janeiro RJ - A century of Brazilian painting: 1850-1950, in the MNBA
1950 - Bahia - a century of Brazilian painting: 1850-1950
1950 - Paraíba - A century of Brazilian painting: 1850-1950
1950 - Pernambuco - A century of Brazilian painting: 1850-1950
1950 - Venice (Italy) - 25th Venice Biennale
1951 - São Paulo SP - 1st São Paulo International Biennial, at the Trianon Pavilion
1952 - Rio de Janeiro RJ - Exhibition of Brazilian artists, at MAM/RJ
1954 - Rio de Janeiro RJ - Salão Preto e Branco, at Palácio da Cultura
1954 - Warsaw (Poland) - Exhibition on the struggle of the people for peace
1954 - Venice (Italy) - 27th Venice Biennale
1955 - Porto Alegre RS - Contemporary Brazilian Art, at Margs
1955 - San Francisco (United States) - Art in the 20th Century, at Fine Arts Museums of San Francisco
1955 - São Paulo SP - 3rd International Biennial of São Paulo, at the Pavilion of Nations
1957 - Buenos Aires (Argentina) - Modern Art in Brazil, at the National Museum of Bellas Artes
1957 - Lima (Peru) - Modern Art in Brazil, at the Lima Art Museum
1957 - New York (United States) - Guggenheim International Award: 1956, at The Solomon R. Guggenheim Museum
1957 - Rosario (Argentina) - Modern Art in Brazil, at the Municipal Museo de Bellas Artes Juan B. Castagnino
1957 - Santiago (Chile) - Modern Art in Brazil, Contemporary Art Museum
1958 - Brussels (Belgium) - 50 years of modern art at Palais des Beaux-Arts
1958 - Mexico City (Mexico) - 1st Mexico International Biennale - Ciudad Award of Mexico
1958 - New York (United States) - Paintings and Sculpture and Folk Art from Thirty-Nine Member Countries of the United Nations, The Festival Galleries
1958 - Rio de Janeiro RJ - Exhibition of Works and Projects of the New Capital, at the Ministry of Education and Sports
1959 - Amsterdam (Netherlands) - First collective exhibition of Brazilian artists in Europe
1959 - Barcelona (Spain) - First collective exhibition of Brazilian artists in Europe
1959 - Basel (Switzerland) - First collective exhibition by Brazilian artists in Europe
1959 - Leverkusen (Germany) - First exhibition Collective of Brazilian Artists in Europe
1959 - London (United Kingdom) - First collective exhibition of Brazilian artists in Europe
1959 - Milan (Italy) - International Exhibition of Sacred Art
1959 - Milan (Italy) of Brazilian artists in Europe
1959 - Rome (Italy) - First collective exhibition of Brazilian artists in Europe
1959 - Munich (Germany) - First collective exhibition of Brazilian artists in Europe, at Kunsthaus
1959 - Rio de Janeiro RJ - 30 years of Brazilian art, at the Macunaíma gallery
1959 - São Paulo SP - 5th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion
1959 - Vienna (Austria) - First collective exhibition of Brazilian artists in Europe
1960 - Hamburg (Germany) - First collective exhibition by Brazilian artists in Europe
1960 - Lisbon (Portugal) - First collective exhibition of Brazilian artists in Europe
1960 - Madrid (Spain) - First collective exhibition of Brazilian artists in Europe
1960 - Paris (France) - First collective exhibition by Brazilian artists in Europe
1960 - Rio de Janeiro RJ - Inaugural Exhibition, at the Bonino Gallery
1960 - São Paulo SP - Leirner Collection, at the Folhas Art Gallery
1960 - Utrecht (Holland) - First collective exhibition by Brazilian artists in Europe
1962 - Casablanca (Morocco) - Exhibition of artists Brazilians
1962 - Rabat (Morocco) - Exhibition of Brazilian artists
1962 - Tanger (Morocco) - Exhibition of Brazilian artists

Posthumous exhibitions

1962 - São Paulo SP - Selection of Brazilian works of art from the Ernesto Wolf collection, at MAM/SP
1963 - Brodowski SP - Homage to Portinari, in the parish house of the Church of Largo Candido Portinari
1963 - Campinas SP - Painting and contemporary sculpture, at the Carlos Gomes Museum
1963 - Milan (Italy) - Exhibition of Candido Portinari, at Pallazzo Reale
1963 - Rio de Janeiro RJ - 1st Summary of Art JB, at Jornal do Brasil
1963 - Rio de Janeiro RJ - The theme landscape, at Galeria Ibeu Copacabana
1964 - Rio de Janeiro RJ - Small size exhibition, at the Bonino Gallery
1966 - Austin (United States) - Art of Latin America Since Independence, at The University of Texas at Austin. Archer M. Huntington Art Gallery
1966 - Belo Horizonte MG - 2nd Current Exhibition of Works from the MAC/USP Collection, at the Belo Horizonte City Hall Art Museum Works from the MAC/USP collection
1966 - New Haven (United States) - Art of Latin America since Independence, at The Yale University Art Gallery
1966 - New Orleans (United States) - Art of Latin America since Independence, at the Isaac Delgado Museum of Art
1966 - Porto Alegre RS - 2nd Current Exhibition of Works of the MAC/USP Collection, at the Museum of Art of Rio Grande do Sul
1966 - Rio de Janeiro RJ - Self-portraits, at the Ibeu Copacabana Gallery
1966 - San Diego (United States) - Art of Latin America since Independence, at the La Jolla Museum of Art
1966 - San Francisco (States) United States) - Art of Latin America Since Independence, at the San Francisco Art Museum
1966 - São Paulo SP - Half a century of Art Nouveau, at MAC/USP
1970 - São Paulo SP - CEM Masterpieces by Portinari, MASP
1972 - Rio de Janeiro RJ - Individual, in the MNBA
1972 - São Paulo SP - The week of 22: Background and consequences, in MASP
1974 - Geneva (Switzerland) - Portinari: L'Art aux Nations Unies, at the Palais des Nations
1975 - São Paulo SP - Spam and Cam, at the Lasar Segall Museum
1976 - São Paulo SP - The Salons: From the São Paulo Artistic Family, May and the São Paulo Plastic Artists Union, at the Lasar Segall Museum
1976 - São Paulo SP - Brazilian Art: Figures and Movements, at Galeria Arte Global
1979 - São Paulo SP - Portinari: studies for the panels of the Ministry of Education in Rio de Janeiro, at MAC/USP
1980 - Buenos Aires (Argentina) - Ochenta Años de Arte Brasileño, at Banco Itaú
1980 - Rio de Janeiro RJ - 3rd National Arts Salon Platicas, at MNBA
1980 - Rio de Janeiro RJ - Homage to Mário Pedrosa, at the Jean Boghici Gallery
1980 - Santiago (Chile) - 20 Brazilian painters, at the Chilean Academy of Bellas Arts
1980 - São Paulo SP - CEM Masterpieces of Portinari, at MASP
1981 - Macéio AL - Brazilian artists of the first half of the 20th century, at the Historical and Geographical Institute
1981 - Rio de Janeiro RJ - Carnival universe: images and reflections, at the Art Gallery Collection
1981 - Rio de Janeiro RJ - Portinari: Engraver, at Galeria Engraving Brasileira
1982 - Bauru SP - 80 years of Brazilian art
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Center for Modern Art
1982 - London (England) - Brazil 60 years of modern art: Gilberto Chateaubriand Collection, at the Barbican Art Gallery
1982 - Marília SP - 80 years of Brazilian art
1982 - Rio de Janeiro RJ - Universo do Futebol, at MAM/RJ
1982 - Salvador BA - The Brazilian Art of the Odorico Tavares Collection, at the Carlos Costa Pinto Museum
1982 - São Paulo SP - 80 years of Brazilian art, at MAB/FAAP
1982 - São Paulo SP - From modernism to the biennial, in the MAM/SP
1983 - Belo Horizonte MG - 80 years of Brazilian art, at the Clóvis Salgado Foundation. 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 - Olinda PE - 2nd exhibition of the collection OO Rodrigues de Artes Flásicas, at Mac/Olinda
1983 - Ribeirão Preto SP - 80 years of Brazilian art
1983 - Rio de Janeiro RJ - Brazilian self-portraits, at the Banerj Art Gallery
1983 - Santo André SP - 80 years of Brazilian art, at the City Hall
1983 - São Paulo SP - Re-reading Project, at the Pinacoteca do Estado
1984 - Fortaleza CE - 7th National Plastic Arts Salon
1984 - Rio de Janeiro RJ - 7th National Salon of Plastic Arts
1984 - Rio de Janeiro RJ - Portinari Desenhista, 2, at Ralph Camargo Art Consulting
1984 - Rio de Janeiro RJ - Salon of 31, at Funarte
1984 - Salvador BA - Retrospective, at MAM/BA
1984 - São Paulo SP - Candido Portinari: Ralph Camargo Collection, in the Plano Space
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, at the Biennial Foundation
1985 - Rio de Janeiro RJ - 8th National Salon of Plastic Arts, at MAM/RJ
1985 - Rio de Janeiro RJ - Collector's Portrait in its collection, at the Banerj Art Gallery
1985 - Rio de Janeiro RJ - Black and White Salon: Special Room of the 8th National Salon of Plastic Arts, at the Rodrigo Mello Franco de Andrade Gallery
1985 - Rio de Janeiro RJ - Six decades of Brazilian art at the Roberto Marinho Collection, at Paço Imperial
1985 - São Paulo SP - 100 Obras Itaú, at MASP
1985 - São Paulo SP -18th São Paulo International Biennial, at the Bienal Foundation
1986 - Curitiba PR - 7th Collection of the National Gravure Museum - Casa da Engraving, at the Guido Viaro Museum
1986 - Rio de Janeiro RJ - Seven decades of the Italian presence in Brazilian art, at the Paço Imperial
1987 - Paris (France) - Modernity: Brazilian art of the 20th century, at the Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Homage to Gilberto Chateaubriand , at MAM/RJ
1987 - São Paulo SP - Brazil painted by national and foreign masters: 18th - 20th centuries, at MASP
1987 - São Paulo SP - The Craft of Art: Painting, at SESC
1988 - New York (United States) - The Latin American Spirit: Art and Artists in the United States: 1920-1970, no The Bronx Museum of the Arts
1988 - São Paulo SP - Brasiliana: O Homem e a Terra, at the Pinacoteca do Estado
1988 - São Paulo SP - MAC 25 years: Highlights of the initial collection, MAC/USP
1988 - São Paulo SP - Modernity: 20th Century Brazilian Art, at MAM/SP
1989 - El Paso (United States) - The Latin American Spirit: Art and Artists in the United States: 1920-1970, at the El Paso Museum of Art
1989 - Fortaleza CE - Brazilian art of the 19th and 20th centuries in the Ceará collections: paintings and drawings, in the cultural space of Unifor
1989 - Lisbon (Portugal) - Six decades of Brazilian modern art: Roberto Marinho Collection, at the José de Azeredo Perdigão Modern Art Center
1989 - San Diego (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at the San Diego Museum of Art
1989 - San Juan (Puerto Rico) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at the Instituto de Cultura Puertorriqueña
1989 - São Paulo SP - Painting Brazil 20th Century: Works from the Banco Itaú collection, at Itaugaleria
1990 - Miami (United States) - The Latin American Spirit: Art and Artists in the United States, 1920-1970, at the Center for the Fine Arts Miami Art Museum of Date
1990 - Moscow Russia) - Candido Portinari: Retrospective
1991 - Curitiba PR - Municipal Museum of Art: Collection, at the Municipal Museum of Art
1991 - São Paulo SP - Candido Portinari: Drawings, at Casa das Rosas
1992 - Campinas SP - Awarded at the Contemporary Art Salons of Campinas, at MacC
1992 - Paris (France) - Latin American Artists of the Twentieth Century, at the Center Georges Pompidou
1992 - Poços de Caldas MG - Brazilian Modern Art: Collection of the Museum of Contemporary Art of the University of São Paulo, at Casa de Cultura
1992 - Rio de Janeiro RJ - Art Engraving in Brazil: Proposal for a mapping, at CCBB
1992 - Rio de Janeiro RJ - Nature: Four centuries of art in Brazil, at CCBB
1992 - São Paulo SP - Retrospective, at Dan Galeria
1992 - São Paulo SP - The formation of the modernist look, at MAC/USP
1992 - Seville (Spain) - Latin American Artists of the Twentieth Century, at the Plaza de Armas Station
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at the Kunsthaus Zürich
1993 - Cologne (Germany) - Latin American Artists of the Twentieth Century, No Kunsthalle Cologne
1993 - New York (United States) - Latin American Artists of the Twentieth Century, at MOMA
1993 - Rio de Janeiro RJ - Brazil: 100 years of modern art, MNBA
1993 - Rio de Janeiro RJ - Candido Portinari : Commemorative exhibition 90 years of birth, at the Jockey Club
1993 - São Paulo SP - 100 masterpieces of the Mário de Andrade collection: painting and sculpture, at IEB/USP
1993 - São Paulo SP - Brazilian art in the world, a trajectory: 24 Brazilian artists, at Dan Galeria
1993 - São Paulo SP - Latin American prints: six masters, at the Galeria do Memorial
1993 - São Paulo SP - The modern design in Brazil: Gilberto Chateaubriand Collection, at the SESI Art Gallery
1993 - São Paulo SP - Modernism at the Brazilian Art Museum: Painting, MAB/FAAP
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition commemorating the 70th anniversary of Unibanco, at the Casa de Cultura
1994 - Rio de Janeiro RJ - The modern design in Brazil: Gilberto Collection Chateaubriand, at MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, at MAM/RJ
1994 - São Paulo SP - Brazilian modern art: a selection of the Roberto Marinho collection MASP
1994 - São Paulo SP - Bienal Brasil Século 20th Century, at the Fundação Bienal
1994 - São Paulo SP - Poetics of the Resistance: Aspects of Brazilian Engraving, at the SESI Art Gallery
1995 - Brasília DF - Collections of Brasília, at the Ministry of Foreign Affairs. Palácio do Itamaraty
1995 - Rio de Janeiro RJ - Unibanco Collection: exhibition commemorating the 70th anniversary of Unibanco, at MAM/RJ
1996 - Fortaleza (Ceará) - Candido Portinari; Drawings and paintings, at the Multiart Gallery
1996 - São Paulo SP - Brazilian Art: 50 years of history at the MAC/USP collection: 1920-1970, at MAC/USP
1996 - São Paulo SP - Individual, in the Hebrew
1996 - São Paulo SP - Images from Brazil: Panels for "O Cruzeiro" in the Central Bank Collection, at MAM/SP
1996 - São Paulo SP - Portinari Reader, at MAM/SP
1996 - São Paulo SP - Portinari: Panel and Drawings, at Banco Sudameris
1997 - São Paulo SP - Masters of Expressionism in Brazil, at Masp
1997 - São Paulo SP - Retrospective Portinari: Drama and Poetry, at the Museum of Art of São Paulo
1998 - Belo Horizonte MG - Candido Portinari : Drawings, at the Moreira Salles Institute. Cultural Center
1998 - Brasília DF - Brazilian like me, like who?, at the Ministry of Foreign Affairs. Palácio do Itamaraty
1998 - Ribeirão Preto SP - Retrospective Portinari, at the SESC
1998 - Rio de Janeiro RJ - The Constantini Collection at the Museum of Modern Art in Rio de Janeiro MAM/RJ
1998 - Rio de Janeiro RJ - Negotiated Images: Portraits of the Brazilian Elite, at CCBB
1998 - São Paulo SP - The Constantini Collection at the Museum of Modern Art in São Paulo, at MAM/SP
1998 - São Paulo SP - MAM Bahia Collection: Paintings, at MAM/SP
1998 - São Paulo SP - Highlights of the Unibanco Collection, at the Moreira Salles Institute
1998 - São Paulo SP - Brazilian Fantasy: the ballet of the IV Centenary, at Sesc Belenzinho
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - The Collectors - Guita and José Mindlin : Matrixes and engravings, at the Art Gallery of SESI
1999 - Campinas SP - Interior of Portinari, at Macc
1999 - Niterói RJ - Exhibition Rio Engravura. Banerj Collection, at the Ingá Museum
1999 - Porto Alegre RS - 2nd Mercosul Visual Arts Biennial, at the Mercosul Visual Arts Biennial Foundation
1999 - Porto Alegre RS - Picasso, Cubismo and Latin America, at Margs
1999 - Ribeirão Preto SP - Interior of Portinari, at the Art Museum of Ribeirão Preto Pedro Manuel-Ghismondi
1999 - Rio de Janeiro RJ - Rio Engraving Show. Guita and José Mindlin Collection, at the Correios Cultural Space
1999 - Rio de Janeiro RJ - Exhibition Rio Engravura. Brazilian Literature and Engraving, at ABL
1999 - São Paulo SP - The female figure in the MAB collection, at MAB/FAAP
1999 - São Paulo SP - Brazilian like me, like who? Cultural Hall
1999 - São Paulo SP - Daily life/art. Consumption, at Itaú Cultural
1999 - São Paulo SP - Papers on paper: from modernism to abstraction, at Dan Galeria
2000 - Brasília DF - Brazil Europe Exhibition: Encounters in the 20th Century, in the Cultural Complex of Caixa
2000 - Caxias do Sul RS - Itinerant Exhibition of the Margs Collection
2000 - Lisbon (Portugal) - Brasil-Brasis: remarkable and amazing things. Modernist looks, at the Chiado Museum
2000 - Lisbon (Portugal) - 20th century: Brazilian art, at the José de Azeredo Perdigão Modern Art Center
2000 - Passo Fundo RS - Traveling Exhibition of the Collection of Margs
2000 - Pelotas RS - Traveling exhibition of the Margs collection
2000 - Rio de Janeiro RJ - When Brazil was modern: plastic arts in Rio de Janeiro from 1905 to 1960, at the Imperial Palace
2000 - Santa Maria RS - Itinerant Exhibition of the Margs Collection
2000 - São Paulo SP - The female figure in the MAB collection, at MAB/FAAP
2000 - São Paulo SP - The human figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - São Paulo: From Vila to Metrópole, at Galeria MASP Prestes Maia
2000 - Valencia (Spain) - From La Antropofagia to Brasilía: Brazil 1920-1950, in Ivam. Center Julio Gonzáles
2001 - Belo Horizonte MG - Modernismo in Minas: Reference Icons, at Itaú Cultural
2001 - Brasília DF - Collections of Brazil, at CCBB
2001 - New York (United States) - Brazil: Body and Soul, at Solomon R. Guggenheim Museum
2001 - Penápolis SP - Modernismo in Minas: reference icons, at the Itaú Cultural Gallery
2001 - Rio de Janeiro RJ - Collections of the Modern: Hecilda and Sergio Fadel at Chácara do Céu, at Castro Maya Museums. Museu da Chácara do Céu
2001 - São Paulo SP - 30 masters of painting in Brazil, at MASP
2001 - São Paulo SP - 4 decades, at Nova André Galeria
2001 - São Paulo SP - Aldo Collection Franco, at the Pinacoteca do Estado
2001 - São Paulo SP - Brazilian Art Museum: 40 years old, at MAB/FAAP
2002 - Brasília DF - JK - An aesthetic adventure, in the cultural complex of the box
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, in the CCBB
2002 - São Paulo SP - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2002 - São Paulo SP - Individual, at Pinakotheke
2002 - São Paulo SP - From Anthropophagia to Brasília: Brazil 1920-1950, MAB/FAAP
2002 - São Paulo SP - Wild Mirror: Modern Art in Brazil in the first half of the 20th century, Nemirovsky Collection, at MAM/SP
2002 - São Paulo SP - Image and identity: a look at the history in the collection of the Museum of Fine Arts, at the Banco Santos Cultural Institute
2002 - São Paulo SP - Modernismo: from the week of 22 to the Sérgio Milliet Art Section CCSP
2003 - Belém PA - 22nd Salon Arte Pará, at the Pará State Museum
2003 - Brasília DF - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2003 - Ipatinga MG - Brazilian art at the MAP collection, at the Usiminas Cultural Center - Ipatinga
2003 - Ribeirão Preto SP - 20s: The emerging modernity, at the Museum of Art of Ribeirão Preto Pedro Manuel-Gistondi
2003 - Rio de Janeiro RJ - Brazilian Art: from the 30th to the post-war revolution, at MAM/RJ
2003 - Rio de Janeiro RJ - Art in Motion, in Espaço BNDES
2003 - Rio de Janeiro RJ - Autonomy of the drawing, at MAM/RJ
2003 - Rio de Janeiro RJ - Treasures of Caixa: Brazilian modern art in the Caixa collection, in the Caixa Cultural Complex
2003 - São Paulo SP - Art and Society: a controversial relationship, at Itaú Cultural
2003 - São Paulo SP - Arteconhecimento: 70 years USP, at MAC/USP
2003 - São Paulo SP - D. Quixote - Portinari, MAC/USP
2003 - São Paulo SP - MAC USP 40 years: Contemporary interfaces at MAC/USP
2003 - São Paulo SP - Ninecento Sudamericana: artistic relations between Italy, Argentina, Brazil and Uruguay, Pinacoteca do Estado de São Paulo
2003 - São Paulo SP - Portinari 100 years: Allegories of Brazil, at MAM/SP
2003 - São Paulo SP - Portinari: The Brazilian man, at the Pinacoteca of the State
2003 - São Paulo SP - Portraits, at MAB/FAAP
2004 - Brasília DF - The modernist look of JK, in the Ministry of Foreign Affairs. Palace of the Itamaraty
2004 - London (United Kingdom) - Visions of a Brazilian childhood, at the Brazilian Embassy in England
2004 - Rio de Janeiro RJ - The iconic face of Brazilian art, at MAM/RJ
2004 - Rio de Janeiro RJ - The Century of a Brazilian: Roberto Marinho Collection, at Paço Imperial
2004 - São Paulo SP - Paper Office, at CCSP
2004 - São Paulo SP - New acquisitions: 1995 - 2003, at MAB/FAAP
2004 - São Paulo SP - The price of seduction: from corset to silicone, at Itaú Cultural
2004 - São Paulo SP - Portinari BM&F: The work as a theme, at the BM&F Cultural Space
2005 - São Paulo SP - Faces de Mário, at IEB/USP
2005 - São Paulo SP - The Century of a Brazilian: Roberto Collection Marinho, at MAM/SP
2005 - São Paulo SP - 100 years of the Pinacoteca: the formation of a collection, at the SESI Art Gallery
2005 - São Paulo SP - Homo Ludens: from the make-believe to Vertigo, at Itaú Cultural
2005 - São Paulo SP - Odorico Tavares: my Bahian house - dreams and desires of a collector, at the SESI Art Gallery
2005 - São Paulo SP - Candido Portinari Series Biblica, at the São Paulo Museum of Art
2005 - Curitiba PR - Odorico Tavares: my Bahian house - dreams and desires of a collector, at the Oscar Niemeyer Museum
2005 - Fortaleza CE - Brazilian art: Public and Private Collections of Ceará, at the Unifor Cultural Space
2005 - Ribeirão Preto SP - The Portrait: Possibilities, at the Ribeirão Preto Art Museum Pedro Manuel-Gismondi
2005 - Rio de Janeiro RJ - Masterpieces of Brazilian Art, at the Rio Design Barra Exhibition Center
2006 - São Paulo SP - Osirarte, at Caixa Cultural
2006 - São Paulo SP - Portinari of Masp at Shopping Morumbi, at Espaço Arte MorumbiShopping
2006 - São Paulo SP - Modern Art in Context: ABN Amro Real Collection, at Banco Santander
2006 - São Paulo SP - Brasiliana Masp: Modern Contemporary, at the São Paulo Museum of Art
2006 - São Paulo SP - O Olhar JK modernist, at MAB-FAAP
2006 - São Paulo SP - 1st Art Salon, at A Hebraica
2006 - São Paulo SP - A Century of Brazilian Art - Gilberto Chateaubriand Collection Pinacoteca do Estado
2006 - Recife PE - Modern Art in Context: ABN Amro Real Collection, at the Banco Real Cultural Institute
2006 - Rio de Janeiro RJ - Modern Art in Context: ABN Amro Real Collection, at the Museum of Art Moderna
2006 - Rio de Janeiro RJ - The modern Brazilian design 1917-1950, at the Museum of Modern Art
2006 - Rio de Janeiro RJ - A Century of Brazilian Art - Gilberto Chateaubriand Collection, at the Museum of Moderna
2007 - São Paulo SP - Brazil, several times modern, at Espaço Arte MorumbiShopping
2007 - Belo Horizonte MG - Binary: Collection and Collections, at the Pampulha Art Museum
2007 - Curitiba PR - Oscar Niemeyer: Architect, Brazilian, Citizen, at the Oscar Niemeyer Museum
2007 - Curitiba PR - A Century of Brazilian Art - Gilberto Chateaubriand Collection, at the Oscar Niemeyer Museum
2007 - Porto Alegre RS - Candido Portinari, at the IMS Gallery - Unibanco Arteplex
2007 - Rio de Janeiro RJ - Candido Portinari: Drawings, at the Moreira Salles Institute
2007 - Niterói RJ - Oscar Niemeyer: Architect, Brazilian, citizen, at MAC-Niterói
2007 - Salvador BA - A Century of Brazilian Art - Gilberto Chateaubriand Collection, at the Bahia Museum of Modern Art
2008 - São Paulo SP - BM&F Bovespa Collection, at the BM&F Bovespa Cultural Space
2008 - São Paulo SP - Brasil Brasileiro, at Centro Cultural Banco do Brasil
2008 - São Paulo SP - Strategies to enter and leave modernity in the Itaú Moderno collection, at the Museu de Arte de São Paulo
2008 - São Paulo SP - MAM 60, at OCA
2008 - Porto Alegre RS - Margs Collection - Expressiveness in Brazilian Art, at the Ruth Schneider Visual Arts Museum
2009 - São Paulo SP - Art in France 1860-1960: Realism, at the São Paulo Museum of Art
2009 - São Paulo SP - Moderns of always, at Dan Galeria
2009 - São Paulo SP - Review: ABCA and the Artistic Collection of Palaces, at Palácio dos Bandeirantes
2009 - São Paulo SP - Treasures of the Roberto Marinho Collection, at the Cultural Space BM&F Bovespa
2009 - Rio de Janeiro RJ - Brasil Brasileiro, at the Centro Cultural Banco do Brasil
2009 - São Paulo SP - Biblical and Retiring Series, at the São Paulo Museum of Art
2009 - São Paulo SP - Under a tropical sky, at James Lisboa Art Office
2009 - Curitiba PR - Portinari at the Castro Maya Collection, at the Oscar Niemeyer Museum
2010 - São Paulo SP - Brasilidade e Modernismo, at Dan Galeria
2010 - São Paulo SP - Memories Revealed, at the Brazilian Art Museum
2010 - Ribeirão Preto SP - Animal, at the Marcelo Guarnieri Art Gallery
2010 - Rio de Janeiro RJ - Contemporary Genealogies, at the Museum of Modern Art
2010 - São Paulo SP - 6th SP-Arte, at the Bienal Foundation
2010 - São Paulo SP - Portinari in Israel, at the center of Jewish culture
2010 - São Paulo SP - Portinari in the Castro Maia collection, at the Pinacoteca do Estado
2011 - São Paulo SP - 7th SP-Arte, at Fundação Bienal
2011 - São Paulo SP - Art in Brazil: a history at the Pinacoteca de São Paulo, at the Pinacoteca do Estado
2011 - São Paulo SP - Recortes de Collections, at the Ricardo Camargo Gallery
2011 - Belo Horizonte MG - 1911-2011 - Brazilian art and later, in the Itaú collection, at the Clóvis Salgado Foundation. Palácio das Artes
2011 - Nova Lima MG - Tarsila and the Brazil of the Modernists, at Casa Fiat de Cultura
2011 - São Paulo SP - at the Portinari studio, at the Museum of Modern Art
2012 - Belém PA - Seringal, at the Banco da Amazônia Cultural Space
2012 - Brasília DF - Portraits of Brazilianness, at the National Congress
2012 - Recife PE - Odorico Tavares : Dreams and desires of a collector, at the Ricardo Institute Brennand
2013 - Campinas SP - 100 years of São Paulo art in the collection of the Pinacoteca do Estado de São Paulo, at the CPFL Cultura Art Gallery

Partial listing of tributes, titles and awards

1940 – Chicago (United States) – The University of Chicago publishes the first book about the painter, Portinari: His Life and Art, with introduction by the artist Rockwell Kent

1946 – Paris (France) – Legion of honor granted by the French government

1950 – Warsaw (Poland) – gold medal by the Tiradentes panel (1949), awarded by the jury of the International Peace Prize.

1955 – York (United States) – Gold medal, as the best painter of the year, awarded by the International Fine Arts Council.

1956 – New York (United States) – Guggenheim Painting Award, on the occasion of the inauguration of the panels War and Peace at the UN Headquarters of New York.

Bibliography

FILHO, Mário – The childhood of Portinari, Edições Bloch, Rio de Janeiro - 1889.

Moreira, Marcos – The Life of the Great Brazilians - Publisher Três - 2010.

Drummond de Andrade, Carlos - I was at Candinho's house. In: CONFESSIONS OF MINAS. In: Poetry and Prose: Single Volume. 8th ed. Rio de Janeiro: Nova Aguilar, 1992. p. 1354-1356. (Luso-Brazilian library. Brazilian series).

ANDRADE, Mário de. Portinari, Amico Mio: Letters from Mário de Andrade to Candido Portinari- Org., Introd., Notes Annateresa Fabris. Campinas, SP: Mercado de Letras, Ed. Authors Assoc.; Rio de Janeiro: Projeto Portinari, 1995. 160 p. (Art Collection: Essays and Documents).

BENTO, Antonio. Portinari- Apres. Afonso Arinos; pref. Jayme de Barros. 2. ed. Rio de Janeiro, RJ: Léo Christiano, 2003, 396 p. IL

Fabris, Annateresa. Candido Portinari- São Paulo, SP: Edusp, 1996. 191 p. IL. (Brazilian artists, 4.)

Kent, Rockwell - Portinari: His Life and Art. apres. Josias Leão. Chicago, IL: Chicago Univ., 1940, 116 p. il.

LURAGHI, Eugenio - Disegni di Portinari, Turin, ITA, 1955, 188 p. il.

LURAGHI, Eugenio -Israel: Disegni di Portinari. pref. Arie Aroch. Rio de Janeiro, RJ:

Guanabara Koogan; New York: H. N. Abrams, 1957, 148 p. il.

PORTINARI, Antônio. Portinari Menino- Apres. Antonio Callado. Rio de Janeiro, RJ: J. Olympio, 1980. 172 p. il.

Portinari, Candido. social sense of art. [Buenos Aires]: Centro Estudiantes de Bellas Artes, 1947, 38 p. IL. (Cuadernillos de Cultura).

Portinari, Candido. Poems by Candido Portinari- Pref. Manuel Bandeira. Rio de Janeiro, RJ: J. Olympio, 1964. 105 p. il.

Book of Virtues for Children