Carlos Martins (Araçatuba SP 1946)
Printmaker, draftsman, museologist, curator, teacher.
In the 1960s, he moved to São Paulo. He graduated in architecture from the Universidade Presbiteriana Mackenzie in 1969. Three years later, he studied drawing and painting at Escola Brasil:. Between 1973 and 1977, he traveled to Europe and took etching courses at the Chelsea School of Art, the Sir John Cass School of Arts and the Slade School of Fine Art, in England. In Urbino, Italy, he attended the Accademia Raffaello. Back in Brazil, in 1978, he took part in the 1st Salão Nacional de Artes Plásticas at the Museu Nacional de Belas Artes - MNBA. He exhibited at the 2nd Ibero-American Biennial, held by the Instituto Cultural Domecq in Mexico, in 1980. In 1982, he received the best printmaker award from the Associação Paulista de Críticos de Arte - APCA. In 1986, he traveled to New York to study monotype. On his return to Brazil, he taught printmaking at the Pontifícia Universidade Católica do Rio de Janeiro - PUC/RJ and at the Museu Histórico do Ingá in Niterói, Rio de Janeiro. In 1984, he founded the Print Room of the Museu Nacional de Belas Artes and, from 1991 to 1995, directed the Museus Castro Maya in Rio de Janeiro. With Valéria Piccoli, he became curator of Jacques Kugel's Brasiliana Collection in 1996. Acquired by the British Rank-Packard foundation, the collection came to Brazil on loan under the responsibility of the Fundação Estudar and, in 2002, was donated permanently. In 2006, with Valéria Piccoli and Eddy Stols, he published the book O Diplomata e Desenhista Benjamin Mary e as Relações da Bélgica com o Império do Brasil [The Diplomat and Draftsman Benjamin Mary and Belgium's Relations with the Empire of Brazil].
Critical Commentary
Carlos Martins employs allegorical procedures that signal changes in the thematic character of printmaking. Using techniques such as etching, aquatint and monotype, he creates empty spaces, landscapes made in Brazil and melancholy interiors that stand in contrast to prints with social or abstract themes.
His works show small houses, pine trees and rocks drawn on the basis of the triangle, a stable form that structures the composition. This sign, a hallmark of his prints, is often used to build allegories with literary references, as in the series O Guarany, 1986, based on the novel by José de Alencar.
Martins's works reveal an intimate, personal tone that at times merges with fragments of memory or something like a travel diary. Photography-based realism is rearticulated so as to inject a certain mystery into reality. In some works, figures are shown against the light, so that their identities are known only through the shadows of their bodies.
Working in small formats, the artist proceeds through suggestion, offering clues that allow the viewer to construct various narratives. They are fragments which, through the singularity of repetition, retain part of the artist's own experience.
Critiques
"In 1985, Frederico Morais aptly defined the result of this disposition: 'Carlos Martins knows how to discover in each object its formal structure, but also what it reveals in terms of memory, solitude, silent communication between subject and object. There is no coldness in his prints: there is control that does not exclude emotion'. Indeed, all the precise appearance of images in Carlos Martins's work is combined with an atmosphere impregnated by subtle vibrations, suspensions of time in a broad silence, the affirmation of seamless presences, underground passages between the visible and the invisible, magic of a strangely crystallized reality. The strangeness of standing before the mirror. There is a constant diary-like side to these prints, chamber music for which the noise of color is usually dispensed with. A diary of travels or of stops, landscapes kept in the tender glacier of memory, rooms where one has been with an attentive gaze, wishing to hold them forever in their web of phantasmal geometry, objects set on a definitively emptied table, paintings whose contours were captured after being seen on museum walls. Visits, in short, between the visited and the visitor, as if the one and the other, in a mirroring relationship, could no longer be told apart".
Roberto Pontual
MARTINS, Carlos. Gravuras. Apresentação Roberto Pontual. Rio de Janeiro: Escola de Artes Visuais do Parque Lage, 1992. folha dobrada il. p. b.
Testimonials
"Obviously, we can't free ourselves from ourselves. The architecture I studied is present in my work as a visual artist: formally in some works and merely as a reference in others. It appears as subject matter or through perspective; it comes directly from my training. [...]
The ideal of classicism is very present in my work. But there is an underlying playfulness in all of it. The image I convey to the viewer is one of devotion to canonical rigor, but what lies behind it is precisely the questioning of that rigor. [...]
Alongside technical, craft and instrumental knowledge, I make a point of showing my students the importance of history, of questioning the image itself, of building an inner repertoire that constantly allows artistic expression to grow".
Carlos Martins to Susana S. Espindola - August 11, 1983
"The images I choose always have architectural elements, no doubt. But I don't know why I chose printmaking. I was already doing watercolor and drawing. In England, where I went to do a master's in architecture, I started a printmaking course just out of curiosity. I remember that at first I wanted to erase my past as an architect from the images and I couldn't. It came so naturally... Talking to a teacher at the John Cass School of Arts, he told me: 'But that's exactly it. If you chose architecture as a profession, it's because you have a deeper connection with it. Instead of denying it, you should face it and see what comes out'. From then on I stopped resisting the influence of architecture on my work. [...]
It's the print that's in charge, no doubt. I usually say a print is finished when it wants to be, not when I want it to be. I'm not in control of anything. I just keep working. [...] Nothing comes out all at once. I start from tiny little sketches and erase a lot. I scrape the plate, rework things on top, change the image. The image matures in the process of making it. Sometimes I pull as many as twenty state proofs of a single print. When it reaches a point where I think the image is resolved, I put it aside. A few days later, I look at it again. Then it tells me whether it's finished or not. And that takes a very long time. [...]
A first reading of my work does have this aspect of technical precision closely tied to reason. And that's right. But there is a second reading, where the rational gives way to the material of memory, to emotions, to that Proustian thing... Once I was polishing a metal plate for engraving and a student watched me and said: 'Oh! There's Carlos making another one of his little mirrors'. I find that remark perfect. The plate was so polished that it reflected, but it can also be understood as the perception that the artist's work is his mirror, the revelation of his experiences. [...]
Contemporary art is what is made today and has substance, a structure. Because fashion is modern but not contemporary. Besides, I don't think I have a Renaissance visual approach, because I use two techniques that hadn't even been invented at that time: mezzotint, which emerged in the 17th century, and aquatint, which dates from the end of the 18th century".
Carlos Martins - August 1983
Solo Exhibitions
1977 - London (England) - Solo, at Jordan Gallery
1977 - Paris (France) - Solo, at Galerie André Biren
1978 - São Paulo SP - Solo, at Galeria Luisa Strina
1980 - Rio de Janeiro RJ - Solo, at Galeria Gravura Brasileira
1980 - São Carlos SP - Solo, at UFSCar
1981 - London (England) - Solo, at Jordan Gallery
1981 - São Paulo SP - Solo, at Galeria Luisa Strina
1981 - Rio de Janeiro RJ - Solo, at Galeria Gravura Brasileira
1983 - Porto Alegre RS - Solo, at Cambona Centro de Arte
1984 - Washington (United States) - Solo, at Brazilian-American Cultural Institute
1984 - Resende RJ - Solo, at MAM/Resende
1984 - Vitória ES - Solo, at Galeria de Arte e Pesquisa da Ufes
1984 - Illinois (United States) - Solo, at Krannert Museum of Art
1984 - Rio de Janeiro RJ - Solo, at Galeria ArteEspaço
1984 - Ottawa (Canada) - Solo, at Biblioteca Nacional do Canadá
1984 - Quebec (Canada) - Solo, at Instituto Canadense
1984 - Quebec (Canada) - Solo, at Recreation Centre
1985 - Toronto (Canada) - Solo, at First Canadian Place
1985 - London (England) - Solo, at Brazilian Center Gallery
1985 - Barcelona (Spain) - Solo, at Centro de Estudios Brasileños
1985 - São Paulo SP - Solo, at Galeria Luisa Strina
1986 - Rio de Janeiro RJ - Solo, at Galeria ArteEspaço
1986 - Brasília DF - Solo, at Galeria Espaço Capital
1986 - São Paulo SP - Solo, at Galeria Luisa Strina
1986 - Porto Alegre RS - Solo, at Cambona Centro de Arte
1988 - Hannover (Germany) - Solo, at Sprengel Museum
1988 - Ouro Preto MG - Solo, at Museu da Inconfidência
1988 - Juiz de Fora MG - Solo, at Galeria da UFJF
1988 - British Columbia (Canada) - Solo, at Malaspina College
1988 - Alberta (Canada) - Solo, at Medicine Hat and at Multi-Cultural
1989 - British Columbia (Canada) - Solo, at Hazelton
1989 - Fort Smith (Canada) - Solo, at Northern Life Museum & National Exhibition Centre
1989 - Manitoba (Canada) - Solo, at University of Winnipeg
1991 - Lisbon (Portugal) - Solo, at Galeria Diferença
1992 - Rio de Janeiro RJ - Trajetória de 15 Anos do Artista [The Artist's 15-Year Trajectory], at EAV/Parque Lage
1992 - Praia (Cape Verde) - Solo, at Centro de Estudos Brasileiros
1992 - Rio de Janeiro RJ - Percurso do Artista [The Artist's Path], at Sala Imagem Gráfica, EAV/Parque Lage, and at Sala Candido Portinari/UERJ
1995 - Lisbon (Portugal) - Solo, at Galeria The British Council
1995 - Pelotas RS - Solo, at Museu de Arte Leopoldo Gotuzzo
1996 - Porto (Portugal) - Solo, at Galeria Degrau Arte
1996 - Rio de Janeiro RJ - Exposição e Cenários para o Concerto Comemorativo do Centenário de Carlos Gomes [Exhibition and Sets for the Carlos Gomes Centenary Concert], at Teatro Municipal
1996 - Buenos Aires (Argentina) - Solo, at Fundación Centro de Estudios Brasileños
1998 - Rio de Janeiro RJ - Os Amigos da Gravura [Friends of Printmaking], at Museu Chácara do Céu
1999 - Rio de Janeiro RJ - Rio Printmaking Show: Carlos Martins, at Espaço Cultural dos Correios
Group Exhibitions
1974 - Lisbon (Portugal) - 8 Brazilian Artists, at Galeria de Arte Grafil
1976 - London (England) - East London Open Exhibition, at Whitechapel Art Gallery
1976 - London (England) - Summer Exhibition, at Royal Academy of Arts
1976 - Nuremberg (Germany) - Graphics in Kleinformat, at Albrecht Dürer Gesellschaft
1976 - São Paulo SP - 7th São Paulo Contemporary Art Salon, at Paço das Artes - acquisition prize
1977 - London (England) - 3 Novos Gravadores [3 New Printmakers], at Everyman Foyer Gallery
1977 - London (England) - Summer Exhibition, at Royal Academy of Arts
1977 - London (England) - The London Group, at Camden Arts Centre
1977 - New York (United States) - International Miniature Print Competition, at Pratt Graphics Center
1978 - Curitiba PR - 1st Curitiba Annual Printmaking Show - award winner
1978 - London (England) - Summer Exhibition, at Royal Academy of Arts
1978 - Niterói RJ - 1º Ano de Oficina [First Year of the Workshop], at Museu do Ingá
1978 - Rio de Janeiro RJ - 1st National Visual Arts Salon, at MNBA
1978 - Rio de Janeiro RJ - 2nd Carioca Art Salon - 2nd prize printmaking
1978 - São Paulo SP - Gravuras em Metal [Intaglio Prints], at Galeria Luisa Strina
1979 - Buenos Aires (Argentina) - 1st Latin American Print Triennial
1979 - Mendoza (Argentina) - 27 Gravadores Brasileiros [27 Brazilian Printmakers], at Museo de Arte Moderno
1979 - Rio de Janeiro RJ - 3rd Carioca Art Salon - special jury mention
1979 - San Juan (Puerto Rico) - Bienal de San Juan del Grabado Latinoamericano y del Caribe - guest artist
1980 - Mexico City (Mexico) - 2nd Ibero-American Art Biennial, at Instituto Cultural Domecq - acquisition prize
1980 - Curitiba PR - 3rd Curitiba Annual Printmaking Show
1980 - London (England) - 3rd World Art Exhibition, at British Library
1980 - Maryland (United States) - Twelve Brazilian Printmakers, at Partners of the Americas
1980 - Rio de Janeiro RJ - 6th The Face and the Work, at Galeria Ibeu
1981 - Buenos Aires (Argentina) - Arte e Arquitetura [Art and Architecture], at Galeria Zurbaran
1981 - Ljubljana (Yugoslavia - now Slovenia) - 14th International Print Biennial
1981 - Piracicaba SP - 14th Piracicaba Contemporary Art Salon, at Casa das Artes Plásticas
1981 - Rio de Janeiro RJ - 4th National Visual Arts Salon
1981 - Rio de Janeiro RJ - Panorama da Arte Brasileira - Coleção Gilberto Chateaubriand [Panorama of Brazilian Art - Gilberto Chateaubriand Collection], at MAM/RJ
1982 - Bradford (England) - 7th British International Print Biennale
1982 - Cali (Colombia) - 12 Artistas Gráficos [12 Graphic Artists], at Museo de Arte Moderno La Tertulia
1982 - Kyoto (Japan) - International Impact Art Festival 82
1982 - Mexico - Gráficos do Brasil [Graphics from Brazil], at Foro de Arte Contemporânea
1982 - Rio de Janeiro RJ - A Casa [The House], at Galeria Gravura Brasileira
1982 - São Carlos SP - 1st Art Salon - special room, at Senac
1983 - Ljubljana (Yugoslavia - now Slovenia) - 15th International Print Biennial
1983 - Montevideo (Uruguay) - 1st Print Biennial
1983 - Niterói RJ - 6 Artistas e o Pequeno Formato, at Galeria da UFF
1983 - San Juan (Puerto Rico) - Bienal de San Juan del Grabado Latinoamericano y del Caribe - guest artist
1984 - Bogotá (Colombia) - A Gravura Brasileira Contemporânea [Contemporary Brazilian Printmaking]
1984 - Brasília DF - Group show, at Galeria Paulo Figueiredo
1984 - Philadelphia (United States) - 60th International Exhibition, at The Print Club
1984 - Rio de Janeiro RJ - Pau, Pedra, Fibra e Metal [Wood, Stone, Fiber and Metal], at EAV/Parque Lage
1984 - São Paulo SP - 15th Panorama of Current Brazilian Art, at MAM/SP
1984 - São Paulo SP - Panorama of Current Brazilian Art, at MAM/SP
1984 - Vitória ES - Gravuras em Metal [Intaglio Prints], at Galeria de Arte e Pesquisa da Ufes
1985 - Ljubljana (Yugoslavia - now Slovenia) - 7th International Print Biennial
1985 - Rio de Janeiro RJ - D'Après, at Galeria da UFF
1985 - Rio de Janeiro RJ - Encontros. Homenagem a Maria Leontina [Encounters. Tribute to Maria Leontina], at Petite Galerie
1985 - São Paulo SP - 18th São Paulo International Biennial, at Fundação Bienal
1986 - Cali (Colombia) - 1st Cali Print Biennial
1986 - Cali (Colombia) - 5th American Biennial of Graphic Arts
1986 - Ottawa (Canada) - Gravura Brasileira Contemporânea [Contemporary Brazilian Printmaking], at Galerie Front
1986 - Rio de Janeiro RJ - 1st Brazilian Art Book Show, at Galeria Villa Riso
1986 - San Juan (Puerto Rico) - 7th Bienal de San Juan del Grabado Latinoamericano y del Caribe
1986 - São Paulo SP - 12 anos de trabalho conjunto [12 Years of Working Together], at Galeria Luisa Strina
1987 - California (United States) - Open Studio. Contemporary Brazilian Art, at Barbara Lorimer Fine Arts
1987 - Rio de Janeiro RJ - 10+10, at Solar Grandjean de Montigny
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 18th Panorama of Current Brazilian Art, at MAM/SP
1988 - Curitiba PR - 8th Curitiba City Printmaking Show
1988 - Montevideo (Uruguay) - 1st International Printmaking Encounter, at Club del Grabado
1989 - Rio de Janeiro RJ - Gravura Brasileira: quatro temas [Brazilian Printmaking: Four Themes], at EAV/Parque Lage
1990 - Mexico City (Mexico) - Gravura Brasileira [Brazilian Printmaking], at Museo del Grabado
1990 - São Paulo SP - Armadilhas Indígenas [Indigenous Traps], at Masp
1990 - São Paulo SP - Panorama of Current Brazilian Art, at MAM/SP
1991 - Santiago (Chile) - Gravura Brasileira [Brazilian Printmaking], at Museo Nacional de Bellas Artes
1991 - São Paulo SP - The Forest, at MAC/USP
1992 - Curitiba PR - 10th Curitiba City Printmaking Show/America Show, at Museu da Gravura
1992 - Rio de Janeiro RJ - Gravura Brasileira: proposta para um mapeamento [Brazilian Printmaking: A Proposal for Mapping], at CCBB
1992 - Zurich (Switzerland) - Brasilien, at Kunsthaus Zürich
1993 - Rio de Janeiro RJ - Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Beijing (China) - Contemporary Art in Brazil - Works on Paper, at The Yaw Huang Art Museum
1994 - Mexico City (Mexico) - 9th Ibero-American Art Biennial, at Instituto Cultural Domecq
1994 - Rio de Janeiro RJ - Poetics of Resistance: Aspects of Brazilian Printmaking, at MAM/RJ
1994 - São Paulo SP - 20 Years of Brazilian Art, at Masp
1994 - São Paulo SP - Bienal Brasil Século XX [20th Century Brazil Biennial], at Fundação Bienal
1996 - Rio de Janeiro RJ - Fachadas Imaginárias. Arte nos Arcos da Lapa [Imaginary Façades. Art at the Arcos da Lapa]
1998 - São Paulo SP - Os Colecionadores - Guita e José Mindlin. Matrizes e Gravuras [The Collectors - Guita and José Mindlin. Plates and Prints], at Galeria de Arte do Sesi
1999 - Rio de Janeiro RJ - Rio Printmaking Show. Brazilian Modern Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - Rio de Janeiro RJ - Rio Printmaking Show. Trajectory: 46 Years of Printmaking Teaching, at EAV/Parque Lage
2000 - São Paulo SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - New Work, at MAC/USP
2001 - Brasília DF - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. Brazilian Printmaking, at Galeria Itaú Cultural
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2003 - Rio de Janeiro RJ - Brazilianart Project, at Almacén Galeria de Arte
Source: Itaú Cultural
