Eliseu Visconti (Salerno, Itália 1866 - Rio de Janeiro RJ 1944)
Painter, draftsman, teacher.
Eliseu D'Angelo Visconti came with his family to Rio de Janeiro between 1873 and 1875, and in 1883 began studying at the Liceu de Artes e Ofícios with Victor Meirelles (1832 - 1903) and Estêvão Silva (ca. 1844 - 1891). The following year, without leaving the Liceu, he entered the Academia Imperial de Belas Artes - Aiba [Imperial Academy of Fine Arts], where his teachers were Zeferino da Costa (1840 - 1915), Rodolfo Amoedo (1857 - 1941), Henrique Bernardelli (1858 - 1936), Victor Meirelles and José Maria de Medeiros (1849 - 1925). In 1888 he left Aiba to join the Ateliê Livre [Free Studio], which aimed to modernize traditional teaching. With the changes brought by the Proclamation of the Republic, Aiba became the Escola Nacional de Belas Artes - Enba [National School of Fine Arts]. Visconti returned to it and in 1892 received the travel prize. He went to Paris and entered the École Nationale et Spéciale des Beaux-Arts; he studied decorative art at the École Guérin with Eugène Samuel Grasset (ca. 1841 - 1917), one of those who introduced Art Nouveau to France. He traveled to Madrid, where he made copies of Diego Velázquez (1599 - 1660) at the Museo del Prado, and to Italy, where he studied Florentine painting. In 1900 he returned to Brazil and the following year exhibited for the first time at Enba. He designed the bookplate for the Biblioteca Nacional in Rio de Janeiro and won the competition for postage stamps and letter cards in 1904. In 1905 he was invited by the city's mayor, the engineer Pereira Passos, to paint panels for the decoration of the Theatro Municipal do Rio de Janeiro. Between 1908 and 1913 he was professor of painting at Enba, a post he resigned out of dissatisfaction with the teaching rules. He returned to Europe to carry out, between 1913 and 1916, the decoration of the foyer of the Theatro Municipal do Rio de Janeiro as well, and only settled permanently in Brazil in 1920. According to some scholars, he is considered a practitioner of Art Nouveau and of industrial and graphic design in Brazil, with works in ceramics, textiles and lamps.
Critical Commentary
In 1883 Eliseu Visconti attended the Liceu de Artes e Ofícios in Rio de Janeiro; he then studied at the Academia Imperial de Belas Artes - Aiba, where his teachers were Victor Meirelles (1832 - 1903), José Maria de Medeiros (1849 - 1925), Henrique Bernardelli (1858 - 1936) and Rodolfo Amoedo (1857 - 1941). In 1888 he studied at the Ateliê Livre, created by Henrique Bernardelli, Rodolfo Amoedo and Rodolfo Bernardelli (1852 - 1931) in protest against Aiba's traditional teaching and modeled on the Académie Julian in Paris.
With the Republic, the administration of Aiba changed and it was renamed Escola Nacional de Belas Artes - Enba. Eliseu Visconti returned to the institution and, with the reinstatement of the travel prize, was the first student to receive it, in 1892. He continued his training in Paris at the École Nationale et Spéciale des Beaux-Arts. He also studied decorative art at the École Guérin with Eugène Samuel Grasset (ca. 1841 - 1917), the source of his interest in the Art Nouveau movement. His contact with the works of Italian Renaissance masters, especially Sandro Botticelli (ca. 1444 - 1510), and with Symbolism is reflected in his painting mainly in the linearity of the figures, as in Gioventù [Youth] (1898) and A Dança das Oréades [The Dance of the Oreads] (1899), awarded at the Paris International Exhibition in 1900, the year he returned to Brazil.
Living through a moment of modernization of art in Brazil, his work opened up to the main international trends of the late 19th and early 20th centuries. He sought to strengthen the relationship between art and industry and, in 1901, held a solo exhibition in Rio de Janeiro that included his designs for objects in iron, ceramics, marquetry, stained glass, textile printing and wallpaper. From 1903 he alternated periods in France and Brazil. In 1904 he designed the bookplate for the Biblioteca Nacional in Rio de Janeiro and won a competition for postage stamps and letter cards. In 1905 he painted the portrait of the sculptor Nicolina Vaz de Assis (1874 - 1941), one of his most representative works in the genre, in which he seeks to emphasize the elegance and dignity of the sitter. That same year he was invited by the mayor of Rio de Janeiro, the engineer Pereira Passos, to carry out the decoration (stage curtain, circular decorative ceiling panel and frieze over the proscenium) of the Theatro Municipal do Rio de Janeiro. He shows a strong influence of Impressionism and begins to use lighter, more luminous colors. The theater's stage curtain is one of his most allegorical works, with a slightly Symbolist character. Dealing with the progress of the arts and civilization, it presents a gathering of famous men - artists, musicians and poets of various periods, foreign and Brazilian - in a procession whose central figure is the composer Carlos Gomes (1836 - 1896). Besides these characters, there are female figures dancing wrapped in fluttering drapery against a background of blues and pinks, executed with light brushstrokes.
His models came to be, for the most part, his wife, Louise Visconti (1882 - 1954), and their children. The artist began to stand out for his qualities as a colorist. In Maternidade [Motherhood] (1906), these can be seen in the blue of the woman's silk skirt, with silvery reflections, and in the white of the blouse and hat. For the art critic Mário Pedrosa (1900 - 1981), the contrast of colors and the beauty of the fabric textures are the main subjects of the canvas. It is a work resulting from research carried out in direct contact with nature, like the landscape studies he made of the Luxembourg Gardens in Paris. In 1906, still in France, he was appointed to the chair of painting at Enba, a post he held from 1908 to 1913. In this period his work came close to Pointillism, as in A Rosa [The Rose] (1909). In O Retrato de Gonzaga Duque [Portrait of Gonzaga Duque] (1908/1910) he painted the leading art critic of the period realistically, with a well-composed layering of brown tones on a dark background.
In 1913 he returned to France to carry out the decoration of the foyer of the Theatro Municipal, made up of three panels - Música [Music], Inspiração Poética [Poetic Inspiration] and Inspiração Musical [Musical Inspiration] - in which he shows ethereal, vaporous figures against soft, indistinct tones, creating a dreamlike atmosphere. In 1920 he returned to Brazil for good. He painted countless landscapes, such as Cura de Sol [Sun Cure] (1920), set on his small property in Saint-Hubert, near Paris. In Moça no Trigal [Girl in the Wheat Field] (n.d.) he displays a delicacy of tones and half-tones, "golds, yellows, with slight descending curves toward the deep purples and without rising to the greens".1 Regarded by critics as a renewer of landscape painting in Brazil, years later he painted landscapes of Teresópolis, Rio de Janeiro, such as Quaresmas (1942) or Roupa Estendida [Clothes on the Line] (1944), in which he seeks to capture the atmospheric haze of the mountains, with great attention to color and light. For the scholar Maria José Sanches, Visconti presents the manifestation of Brazilian luminosity without ceasing to be linked to the Impressionist technique.
Eliseu Visconti painted many self-portraits. More sober at the beginning of the century, in the 1930s and 1940s they are worked with light, vibrant colors and broad brushstrokes. In several of them he depicts himself as a painter, holding the palette or brushes, as in Ilusões Perdidas [Lost Illusions] (1933). An eclectic artist, he devoted himself freely to his artistic production, in dialogue with contemporary trends such as Art Nouveau, Symbolism, Pointillism and Impressionism, seeking to bring art in the country up to date.
Notes
1 PEDROSA, Mário. Visconti diante das modernas gerações. In: _____. Acadêmicos e modernos: textos escolhidos III. São Paulo: Edusp, 1998. p. 119-133.
Critiques
"From Rodolfo Amoedo, Henrique Bernardelli, J. Medeiros and Zeferino da Costa he learned a craft - the painter's craft. But it was by himself, going through a useful period in Europe observing the masters, especially the Venetians, that he learned something more serious and profound, which is painting proper, the painting he gave us in his maturity, which has value regardless of the influence the subjects it depicts may have on our senses. He was not content to paint from models or imitate what had already been done. He created. He shaped a style. He established a personality. And that is why, because he went beyond the limits of craft, he is the great painter he is. Someone once said that the decline of painting begins when the need to create gives way, imperceptibly, to the desire to imitate. You will never find that state of decline in Eliseu Visconti. Just the other day, in a shop near the Avenida, I saw on display a landscape of his from 1891, when he was still a student at the School. What a promising personality he already revealed at that time, in his youth! The School of Fine Arts was then, as in a way it still is, a mere extension, under another label, of the teaching methods of the Imperial Academy, despite the apparent renewal of its staff promoted by the Republic. Eliseu Visconti came from the Academy and, naturally, in a work from that time the limiting influences must be latent. In the landscape I am referring to, there is still no sense of the open air, of bright light, of color freed from the tyranny of the earth tones. But go and look at it, ladies and gentlemen, so that you may judge for yourselves, comparing it with what he later did in Brazil, the strength it shows of the great painter who was emerging! Eliseu Visconti could have stopped there, varying only his subjects, and he would have done as much as most of his contemporaries. His personality, however, was kneaded in dissatisfaction, in movement, in evolution. He would never stop. He always told his pupils and friends that Art is movement and that the artist, eternally dissatisfied, like life itself, can only be stopped by death. And death alone, indeed, stopped him".
Frederico Barata
BARATA, Frederico. Eliseu Visconti e seu tempo. Rio de Janeiro: Zelio Valverde, 1944. p. 192-194.
"Visconti was the most important artist of the first third of the century in the country, not only because he knew how to paint, but because he painted, in spite of everything, something new. In his case it was not a matter of preserving remnants of Neoclassicism or of allegorical academicism. He always vibrated in unison with the problems of his time, although he was generationally too late (...) to have been an avant-garde artist. So he neither intellectualized nor radicalized himself. But in the concept of intimacy he instilled in his notion of art he was alive and transformed himself; he created a delightful world of delicate color (...)".
Mário Barata
AYALA, Walmir (Org.); CAVALCANTI, Carlos (Org.). Dicionário brasileiro de artistas plásticos. Brasília: MEC: INL, 1973.
"Visconti would be the leading figure in the emergence of modern painting in the country, which from him on would never cease to be enriched by the fruits of the constant movements of renewal that kept appearing in the cultural tumult of the great European centers. By finally introducing Impressionism and Divisionism into Brazilian painting, Visconti is the forerunner of the updating that would continue up to Anita Malfatti, with her 1917 exhibition, and then be radicalized by the Modern Art Week in São Paulo (1922). The significance of Visconti's role in our modernist movement emerges, invaluable, in this further statement of his, which lays bare his whole artistic objectivity: 'The spirit wants renewal, and it is nature itself that drives us to this universal movement. Nothing in it stands still'".
Quirino Campofiorito
CAMPOFIORITO, Quirino. História da pintura brasileira no século XIX. Rio de Janeiro: Pinakotheke, 1983.
"Impressionism is the revelation of his true personality; his palette approaches the purity of the solar prism, and he can then give himself over to the tenor arias of his coloring. He barely distinguishes between the accessory and the main, between backgrounds and figures. Even the decorations of the Municipal (ceiling and foyer) hold up only in part, and even then only through the lightness of the tones, the chromatic vibration of the divided brushwork, the melody (too sweet for our taste) of the pinks and blues, amid which the figures, plastically poor, flutter about, lost, without emphasis or privilege. Even after this intimate dealing with Impressionist sensation and improvisation, and when he tempers the Divisionist process, limiting it now to backgrounds, now to certain isolated figures (Crisálida [Chrysalis]), the colorist does not lay down his arms. In Saint-Hubert, where the painter's individuality becomes sharper until it reaches the precise contours of the final Brazilian phase of the Teresópolis landscapes, he cannot resist the charms of a tonal melody that flows from green to yellow and from red to purple without stumbling (Outono, St. Hubert [Autumn, Saint-Hubert]). The gentle, measured atmosphere of the Île-de-France lulls him. The tonal sequence is melodic, flowing, barely interrupted by syncopations in red. The artist is carried away by purely pictorial and coloristic problems: the delicacy of tones and half-tones, golds, yellows, with slight descending curves toward the deep purples and without rising to the greens (Trigal [Wheat Field]). And in Flores de Rua, St. Hubert [Street Flowers, Saint-Hubert], with its short brushstrokes, what are the little figures playing on the sidewalk? Patches, tones, flowers, like those hanging from the branches and leaning over walls. Later, in Brazil, under the tropical light still untamed in our painting, Visconti is a conqueror of atmosphere. And the science of light and color he learned in France will now serve him to master the atmospheric haze. This will be his great contribution".
Mário Pedrosa
PEDROSA, Mário. Acadêmicos e modernos: textos escolhidos III. São Paulo: Edusp, 1998. p. 128.
Testimonials
"I am a presentist. Art cannot stand still. It changes constantly. What was once detested now pleases. This is evolution, and its effects cannot be escaped. Man does not stop. He always moves forward. The futurists and the cubists are all respectable expressions, artists who are feeling their way, searching for something they have not yet found. They stir, shake up, renew. They are therefore worthy of every admiration".
Eliseu Visconti
SANCHES, Maria José. Impressionismo Viscontiniano. 1982. 139 p. Dissertação (Mestrado) - Escola de Comunicações e Artes da Universidade de São Paulo - ECA/USP, São Paulo, 1982. p. 14.
Solo Exhibitions
1901 - Rio de Janeiro RJ - Solo, at Enba
1903 - São Paulo SP - Solo, at Salão Nobre do Banco Construtor e Agrícola
1905 - Rio de Janeiro RJ - Exhibition of the Sketch for the Stage Curtain of the Teatro Municipal do Rio de Janeiro, at Casa Vieitas
1908 - Paris (France) - Exhibition of Part of the Stage Curtain of the Teatro Municipal do Rio de Janeiro, at Ateliê de Puvis de Chavannes
1910 - Rio de Janeiro RJ - Solo, at Casa Vieitas
1920 - Rio de Janeiro RJ - Solo, at Galeria Jorge
1926 - Rio de Janeiro RJ - Retrospective, at Galeria Jorge
Group Exhibitions
1888 - Rio de Janeiro RJ - General Exhibition of Fine Arts, at Aiba - silver medal
1889 - Rio de Janeiro RJ - Atelier Livre Exhibition, in a townhouse on Rua do Ouvidor
1890 - Rio de Janeiro RJ - General Exhibition of Fine Arts, at Enba - honorable mention
1893 - Chicago (United States) - World's Columbian Exposition
1893 - Paris (France) - Paris Salon
1894 - Paris (France) - Paris Salon
1894 - Rio de Janeiro RJ - 1st General Exhibition of Fine Arts, at Enba - second-class gold medal
1895 - Paris (France) - Paris Salon
1896 - Munich (Germany) - Munich Salon
1896 - Rio de Janeiro RJ - 3rd General Exhibition of Fine Arts, at Enba
1897 - Paris (France) - Paris Salon
1897 - Rio de Janeiro RJ - 4th General Exhibition of Fine Arts, at Enba - first-class gold medal
1898 - Paris (France) - Paris Salon
1898 - Rio de Janeiro RJ - 5th General Exhibition of Fine Arts, at Enba
1899 - Paris (France) - Paris Salon
1900 - Paris (France) - Paris Exposition Universelle - silver medal
1900 - Paris (France) - Pedro Weingartner, Pedro Américo and Eliseu Visconti
1900 - Paris (France) - Paris Salon
1900 - Saint Louis (United States) - Saint Louis National Exhibition
1902 - Rio de Janeiro RJ - 9th General Exhibition of Fine Arts, at Enba - silver medal
1903 - Rio de Janeiro RJ - 10th General Exhibition of Fine Arts, at Enba
1904 - Rio de Janeiro RJ - 11th General Exhibition of Fine Arts, at Enba
1904 - Rio de Janeiro RJ - Watercolorists' Salon
1904 - Saint Louis (United States) - Saint Louis Exposition
1905 - Paris (France) - Paris Salon
1905 - Rio de Janeiro RJ - 12th General Exhibition of Fine Arts, at Enba
1906 - Paris (France) - Paris Salon
1906 - Rio de Janeiro RJ - 13th General Exhibition of Fine Arts, at Enba
1908 - Rio de Janeiro RJ - 15th General Exhibition of Fine Arts, at Enba
1909 - Chicago (United States) - Chicago Exhibition - gold medal
1909 - Rio de Janeiro RJ - 16th General Exhibition of Fine Arts, at Enba
1910 - Rio de Janeiro RJ - 17th General Exhibition of Fine Arts, at Enba
1910 - Santiago (Chile) - Exposición Internacional de Bellas Artes
1911 - Rio de Janeiro RJ - 18th General Exhibition of Fine Arts, at Enba
1911 - São Paulo SP - First Brazilian Fine Arts Exhibition, at Liceu de Artes e Ofícios
1912 - Rio de Janeiro RJ - 19th General Exhibition of Fine Arts, at Enba
1912 - São Paulo SP - Second Brazilian Fine Arts Exhibition, at Liceu de Artes e Ofícios
1913 - Rio de Janeiro RJ - 20th General Exhibition of Fine Arts, at Enba
1920 - Rio de Janeiro RJ - 27th General Exhibition of Fine Arts, at Enba
1921 - Rio de Janeiro RJ - 28th General Exhibition of Fine Arts, at Enba
1922 - Rio de Janeiro RJ - 29th General Exhibition of Fine Arts, at Enba - medal of honor
1922 - Rio de Janeiro RJ - Independence Centennial Exhibition - medal of honor
1923 - Rio de Janeiro RJ - 30th General Exhibition of Fine Arts, at Enba
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
1926 - Rio de Janeiro RJ - 33rd General Exhibition of Fine Arts, at Enba
1927 - Rio de Janeiro RJ - 34th General Exhibition of Fine Arts, at Enba
1928 - Rio de Janeiro RJ - 35th General Exhibition of Fine Arts, at Enba
1928 - São Paulo SP - Grupo Almeida Júnior, at Palácio das Arcadas
1929 - Rio de Janeiro RJ - 36th General Exhibition of Fine Arts, at Enba
1930 - Rio de Janeiro RJ - 37th General Exhibition of Fine Arts, at Enba
1933 - Pittsburgh (United States) - Pittsburgh Exhibition
1933 - Rio de Janeiro RJ - 39th General Exhibition of Fine Arts, at Enba
1934 - Rio de Janeiro RJ - 40th National Salon of Fine Arts, at Enba
1934 - São Paulo SP - 1st São Paulo Fine Arts Salon, at Rua 11 de Agosto
1935 - Pittsburgh (United States) - The 1935 International Exhibition of Painting, at Carnegie Institute
1935 - Rio de Janeiro RJ - 41st National Salon of Fine Arts, at Enba
1936 - Cleveland (United States) - The 1935 International Exhibition of Painting, at Toledo Museum of Art
1936 - Rio de Janeiro RJ - 42nd National Salon of Fine Arts, at Instituto Previdência
1936 - Toledo (United States) - The 1935 International Exhibition of Painting
1937 - Rio de Janeiro RJ - 43rd National Salon of Fine Arts, at MNBA
1938 - Rio de Janeiro RJ - 44th National Salon of Fine Arts, at MNBA
1939 - Rio de Janeiro RJ - 45th National Salon of Fine Arts, at MNBA
1940 - Rio de Janeiro RJ - 46th National Salon of Fine Arts, at MNBA
1940 - São Paulo SP - Retrospective Exhibition: Works by the Great Masters of Painting and Their Disciples
1941 - Rio de Janeiro RJ - 47th National Salon of Fine Arts, at MNBA
1942 - Rio de Janeiro RJ - 48th National Salon of Fine Arts, at MNBA
1943 - Rio de Janeiro RJ - 49th National Salon of Fine Arts, at MNBA
1944 - Rio de Janeiro RJ - 50th National Salon of Fine Arts, at MNBA
Posthumous Exhibitions
1945 - Rio de Janeiro RJ - 51st National Salon of Fine Arts, at MNBA
1945 - São Paulo SP - 11th São Paulo Fine Arts Salon, at Galeria Prestes Maia
1949 - Rio de Janeiro RJ - Eliseu Visconti: Retrospective, at MNBA
1950 - Rio de Janeiro RJ - A Century of Brazilian Painting: 1850-1950, at MNBA
1953 - São Paulo SP - 2nd Bienal Internacional de São Paulo, at Pavilhão dos Estados
1958 - Rio de Janeiro RJ - Sea Salon
1961 - Rio de Janeiro RJ - Rio in Brazilian Painting, at Biblioteca Estadual da Guanabara
1967 - Rio de Janeiro RJ - Solo, at MNBA
1967 - São Paulo SP - Gomide, Osir and Visconti, at Art Galeria
1970 - São Paulo SP - Pinacoteca do Estado de São Paulo 1970, at Pinacoteca do Estado
1972 - São Paulo SP - The Week of '22: Antecedents and Consequences, at Masp
1974 - Rio de Janeiro RJ - The Sea, at Galeria Ibeu Copacabana
1976 - São Paulo SP - The Portrait in the Pinacoteca Collection, at Pinacoteca do Estado
1977 - Rio de Janeiro RJ - Aspects of the Brazilian Landscape: 1816-1916, at MNBA
1977 - São Paulo SP - Solo, at Galeria Arte Global
1978 - Belo Horizonte MG - Solo, at Palácio das Artes
1978 - Salvador BA - Solo, at MAM/BA
1978 - Brasília DF - Solo, at Fundação Cultural do Distrito Federal
1978 - Olinda PE - Solo, at Museu de Arte Sacra
1978 - Rio de Janeiro RJ - Solo, at MNBA
1980 - Buenos Aires (Argentina) - Ochenta Años de Arte Brasileño, at Banco Itaú
1980 - Santiago (Chile) - 20 Pintores Brasileños, at Academia Chilena de Bellas Artes
1980 - São Paulo SP - The Brazilian Landscape: 1650-1976, at Paço das Artes
1982 - Bauru SP - 80 Years of Brazilian Art
1982 - Marília SP - 80 Years of Brazilian Art
1982 - Rio de Janeiro RJ - Eliseu Visconti and Decorative Art, at Solar Grandjean de Montigny
1982 - São Paulo SP - 80 Years of Brazilian Art, at MAB/Faap
1982 - São Paulo SP - Italian Painters in Brazil, at MAM/SP
1983 - Belo Horizonte MG - 80 Years of Brazilian Art, at Fundação Clóvis Salgado. Palácio das Artes
1983 - Campinas SP - 80 Years of Brazilian Art, at MACC
1983 - Curitiba PR - 80 Years of Brazilian Art, at MAC/PR
1983 - Ribeirão Preto SP - 80 Years of Brazilian Art
1983 - Rio de Janeiro RJ - Brazilian Self-Portraits, at Galeria de Arte Banerj
1983 - Santo André SP - 80 Years of Brazilian Art, at Prefeitura Municipal de Santo André
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - São Paulo SP - 100 Itaú Works, at Masp
1986 - São Paulo SP - Dezenovevinte: A Turn of the Century, at Pinacoteca do Estado
1987 - São Paulo SP - Brazil Painted by National and Foreign Masters: 18th - 20th Centuries, at Masp
1989 - Fortaleza CE - Brazilian Art of the 19th and 20th Centuries in Ceará Collections: Paintings and Drawings, at Espaço Cultural da Unifor
1989 - Rio de Janeiro RJ - The Rio de Janeiro of Machado de Assis, at CCBB
1991 - São Paulo SP - Desire in the Academy: 1847-1916, at Pinacoteca do Estado
1992 - Rio de Janeiro RJ - Nature: Four Centuries of Art in Brazil, at CCBB
1993 - Rio de Janeiro RJ - Brazil 100 Years of Modern Art, at MNBA
1994 - Rio de Janeiro RJ - Commemorating the 50th anniversary of the painter's death, at MNBA
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - A Critical Look at the 19th-Century Collection, at Pinacoteca do Estado
1996 - Rio de Janeiro RJ - Views of Rio, at MAM/RJ
1997 - Rio de Janeiro RJ - Air: Exhibition of Visual Arts, Toys, Objects and Models, at Paço Imperial
1999 - Rio de Janeiro RJ - Collection of the Solar Grandjean de Montigny, at Solar Grandjean de Montigny
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Porto Alegre RS - Biblioteca Nacional: Rare Works, at Margs
2000 - Porto Alegre RS - From Frans Post to Eliseu Visconti: Museu Nacional de Belas Artes - RJ Collection, at Margs
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro from 1905 to 1960, at Paço Imperial
2000 - São Paulo SP - The Human Figure in the Itaú Collection, at Itaú Cultural
2000 - São Paulo SP - Brasil + 500 Rediscovery Exhibition, at Fundação Bienal
2000 - São Paulo SP - Eliseu Visconti - Studies of the Body, at Pinacoteca do Estado
2000 - São Paulo SP - Coffee, at Banco Real
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - São Paulo SP - 30 Masters of Painting in Brazil, at Masp
2001 - São Paulo SP - Aldo Franco Collection, at Pinacoteca do Estado
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, at MAB/Faap
2001 - São Paulo SP - Trajectory of Light in Brazilian Art, at Itaú Cultural
2002 - Brasília DF - Baron of Rio Branco: His Work and His Time, at Ministério das Relações Exteriores. Palácio do Itamaraty
2002 - Niterói RJ - Brazilian Art on Paper: 19th and 20th Centuries, at Solar do Jambeiro
2002 - Rio de Janeiro RJ - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2002 - São Paulo SP - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2002 - São Paulo SP - Image and Identity: A Look at History in the Museu de Belas Artes Collection, at Instituto Cultural Banco Santos
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES
2004 - São Paulo SP - The Price of Seduction: From Corset to Silicone, at Itaú Cultural
Source: Itaú Cultural
