Francisco Rebolo

Francisco Rebolo (São Paulo SP 1902 - Idem 1980)

Francisco Rebolo was a painter and engraver. He began his studies in Arts at the Escola Profissional Men's do Brás, where he took drawing classes with Professor Barquita between 1915 and 1917. At the age of 14, he began to work as an apprentice as a wall decorator. Parallel to the activity of decorator, he acted as a football player, passing through the São Bento Athletic Association from 1917 to 1922, by the Sport Club Corinthians Paulista from 1922 to 1927 and by the Clube Atlético Ypiranga de 1927 to 1934. In 1926, he set up a decoration studio on Rua São Bento. From 1933, he transferred his studio to a room in the Palacete Santa Helena, starting with painting. In 1935, he began to share his studio with Mario Zanini. Subsequently, other rooms in the Palacete were transformed into workshops and occupied by several painters, including Fulvio Pennacchi, Bonadei, Humberto Rosa, Clóvis Graciano, Alfredo Volpi, Rizzotti and Manoel Martins. This group of artists became known as the Santa Helena Group. Rebolo developed a work based on figuration, but from the 1950s onwards he outlined experiences in abstractionism and later in constructivism. In 1937, he participated in the formation of the São Paulo Plastic Artists Union and joined the São Paulo Artistic Family (FAP). In 1945, he collaborated in the creation of the Clube dos Artistas e Amigos da Arte (Clubinho), of which he was director on several occasions. With the foreign travel award obtained at the 3rd National Salon of Modern Art, he embarked for Europe in 1955. In 1956, he took a course on restoration at the Vatican, participating in the recovery of a work by Raphael. From 1959, encouraged by Marcelo Grassmann, he began a series of experiences as a recorder.

The boy and the cart

The boy walked through the potholed streets of the old Morumbi neighborhood, where he lived, In a farm, in the company of his parents, Spanish immigrants who came to Brazil in search of a better future, but lived here the same misery that they left on the other side of the Atlantic. disorient him. The night before, he had surprised his parents in a dark conversation in which they tried to seek a solution to the financial crisis that, at this point, had reached a point where there was no money or more to meet the basic needs of the family. years, the boy left home, without telling his parents and was the search for work, anything that would help them out of this distressing situation.

In this, a cart passed him, carrying a load of bricks and his eyes shone:

"I will Follow this cart. Where it stops, there will certainly be work."

Indeed, a little further on, the vehicle stopped in front of an almost finished construction, already in the finishing phase.

"What do you know how to do?" He asked him the contractor.
"Everything!", he replied with resolution.

I could tell, at first sight that, except for good will, the answer was an exaggeration without limits, but the man noticed in him a disposition that impressed him. He gave him a can of paint and a brush, experimenting with his skill in painting doors and shutters.

It was the first work of Francisco Rebolo Gonzales, who would later become an important reference in Brazilian painting, one of the creators of the Santa Helena group and supporter of several other names, such as Alfredo Volpi and Mário Zanini.

The talent of the "short"

Francisco Rebolo Gonzales was born in São Paulo in 1902 and He died in the same city in 1980. As a child, while attending primary school, he went out looking for some "beaks", getting changed, enough to help him with his studies.

He was 15 years old when, after his first experiments with the painting de Paredes, he got an effective job as an apprentice of a decoration workshop, developing talent in the ornamentation of churches and also of houses, where rococo painting, full of flourishes and exaggerations, was common. The first opportunity that emerged, embraced the career of a football player, joining the Corinthians team, where he won the centenary of the centenary of the Independence of Brazil, in 1922. one of the "shorts" who made or make a fuss in football, always appearing by surprise and bewildering their opponents with the speed of the movements and with the ease of getting rid of the marking.

Like the football of old, in the chest and in the Race, it was not enough for the expenses, the free time was used to continue the decoration work, which he never abandoned, and which was the mainstay, when, in 1934, he left the sport to dedicate himself to painting, setting up an office on Rua de São Bento.

The Santa Helena Group

Much later, Rebolo joined Alfredo Volpi, as he, a painter of walls, and rented a room in the Palacete Santa Helena, next to the Cathedral of St. Paulo, is still under construction, in Praça da Sé.

Calling him a palace was an exaggeration. The building, with a few floors, built before the armed cement had arrived in Brazil, housed a luxurious cine-theater, with a stage, frying cabins and a fine decoration that included sculptures and even a fresco painted on the central dome.

But, long ago that part of the city had deteriorated. São Paulo art moved to Cinelândia, on the corner of Avenida Ipiranga and Avenida São João, also taking the most chic offices and stores to the other side of Vale do Anhangabaú. Cine Santa Helena started to show second-rate films and the rooms of the building, without interested parties, began to be rented for the price of some pennies.

For incipient plastic artists, hunger was added to the desire to eat. The rooms were large, in a quiet place, and only one block away from the Escola Paulista de Belas Artes, allowing contact with more advanced students, and even with teachers. which not only helped to develop the Santa Helena group, but also set up a decoration studio, Osirarte, where it gave work to the artists participating in this nucleus. With the organization of the São Paulo Artistic Family, which held a series of press conferences, opposing open to the salons of May, the latter made by artists better situated in life, who refused to make room for "worker artists".

A recognition  Arriving

In 1944, Rebolo risks making his first solo at Livraria Brasiliense, but despite his success, in this and other exhibitions, only ten years later, in 1954, can be effectively noticed, when he won a prize of travel to Europe, in the 3rd National Salon of Modern Art. of restoration at the Vatican Museum.

Without losing simplicity, the grinding wheel that returns to Brazil is another, much more mature. His painting continues with flat lines, shapes reduced to the minimum required in figurative art, but a much more developed and less naive technique is noted.

From then on, there is a succession of exhibitions, interviews and parcels. It is the consecration, which I had never dreamed of but which, even if late, came to his life.

Morumbi, his piece of land

winning not only status, but also a more solid financial condition, Rebolo was able to fulfill one of the dreams of his life. He built a comfortable house in the Morumbi neighborhood, fifty meters from the old farm where he spent his childhood of deprivation.

It was there that he died, at the age of 79, on July 10, 1980. The old village de Chacareiros had already become one of the richest and most populous neighborhoods of São Paulo, which did not impede the customs of the poor boy, who was born and spent his childhood there.
His daughter, Lisbete Rute Rebolo Gonçalves, doctor in Museology from the University of São Paulo, has been responsible for preserving its memory. She was director of the Museum of Contemporary Art and President of ABCA (Brazilian Association of Art Critics). Currently, he is in charge of preparing the centenary celebrations of Rebolo, which should take place in 2002.

The croup of the Galatéia

Francisco Rebolo Gonzales, former player of the Corinthians, half Spanish, half caboclo, is very reminiscent of another Spaniard and Corinthians, the folkloric former president of the club, Vicente Mateus. Like him, he spent his life creating stories around himself, some true, discounting the exaggeration of others created by himself, throwing a folk fog around his biography.

Once (he swore to be true), Rebolo was, with his motorcycle Galatea, to look for the painter Djanira, who was somewhere in São Paulo, to take her on the back to Morumbi's house.

Already close to the residence, a huge storm collapsed and the streets, of dirt, became almost impassable. At a certain point, Rebolo asked Djanira to jump for a few moments and himself, stuck in the clay, pushed the vehicle through a pond.

Once the obstacle was overcome, he got on the bike again and continued on his way to his house, where his wife received him. With the greatest amazement: "But what about Djanira, where are you?"

Djanira had been left behind inside the pond and had to complete the journey on foot, in the middle of the mud.

Critical Comment

Son of Spanish immigrants of humble origin, Francisco Rebolo comes into contact with the painting in the craft of a painter-decorator. Growing up in the neighborhood of Mooca, east side of São Paulo (SP), he needs to work early. In 1915, he was used as a wall decorator's apprentice. Between 1915 and 1917, he attended the course of Initiation to Drawing at the Escola Profissional Men's do Brás. It helps in the decoration of the churches of Santa Cecília and Santa Efigênia, where she does mural painting imitating leather and marble. From 1917 onwards, he began to work independently as a painter of residence, making decorative friezes of different styles. In 1926, he sets up an office on Rua São Bento. Between 1917 and 1934, Rebolo develops a relative successful career in São Paulo football, playing at Sport Club Corinthians (he is responsible for the definitive elaboration of the club's emblem in the 1930s).

From the years 1930 Easel painting begins to have an increasing importance in the life of Rebolo. In 1935, he invited the painter Mario Zanini (1907 - 1971), with whom he has taken informal drawing classes since 1933, to share with him a studio room in the Santa Helena Building, in the Sé, where he settles in 1933. Other artists such as Fulvio Pennacchi (1905 - 1992), Bonadei (1906 - 1974), Humberto Rosa (1908 - 1948), Clóvis Graciano (1907 - 1988), Alfredo Volpi (1896 - 1988) and Manoel Martins (1911 - 1979) join them to share the rent of the rooms and the live model sessions (in the studio and at the Fine Arts), exchange technical and historical knowledge about painting and organize excursions to the peripheral regions of the city on weekends to practice outdoor landscape painting. In this way, what came to be known as the Santa Helena group, from which Rebolo becomes one of the exponents.

In spite of personal differences, united them the emphasis on the domain of painting technique and an intermediate aesthetic position between academy and the First modernism of the 1920s. In this sense, the Santa Helena group is associated with some Italian currents such as Novecento and the Valori Plastici group, defenders of the integration between impressionist and post-impressionist achievements - mainly Paul Cézanne (1839 - 1906) - and the tradition of Italian painting.1 These ideas were publicized in Brazil by Italian artists or of Italian training such as Rossi Osir (1890 - 1959), Vittorio Gobbis (1894 - 1968) and Hugo Adami (1899 - 1999), but also by magazines, books and important foreign art exhibitions held in the period. In the case of Rebolo, this leap towards a more conscious knowledge of the history of art is largely due to the contact with the critic and intellectual Sérgio Milliet (1898 - 1966), with whom he exchanges paintings for books and of which he becomes an intimate friend.

More Known as a landscape painter, Rebolo also dedicates himself to the painting of still lifes, portraits and self-portraits, urban and suburban scenes. Its pictorial production develops without jumps and remains unitary in several aspects, for example, in the use of the lowered palette rich in hues. In this sense, Milliet defines him in 1941 as "Maliat Master". During the 1940s, the more or less diffuse color spots that serve the representation of their themes at the beginning of their career give way to colorful and well-defined masses, and the paintings begin to be structured more strongly as distinct fields of color. From the beginning, empathy and the lyrical look and without grinding dramas draw attention when focusing on the landscapes of the outskirts and the urban scenes.

It is with a picture of constructive influences, structured in geometrical planes and painted in Black-and-white, Casas da Praia Grande or Casario (1954), which grinds curiously, receives the award for travel abroad at the 3rd Salon of Modern Art in Rio de Janeiro, in 1954. France, Belgium, the Netherlands and Italy, where it establishes residence. From the European phase, works of great geometric rigor appear in the formal structuring and under the influence of typical Italian architecture tones such as the ocher and earth tones and the Pompean red of works such as Ravenna (1956), Roma (1956), Venice (1958) and Suzy (1959), painted in Brazil. After a momentary crisis, Rebolo began to dedicate himself to engraving, in the 1960s, with the guidance of his friend Marcelo Grassmann (1925). It seeks to try new materials and in the 1970s it makes use of acrylic paint, making its paintings more stylized and flat. Until the end of life, he never abandons figuration and, mainly, landscape painting.

Notes
1 ARGAN, Giulio Carlo. Modern art: from the Enlightenment to contemporary movements. São Paulo: Companhia das Letras, 1992. p. 372.

Criticism

"Rebolo (...) is one of the most talented painters of the Santa Helena group. A halftone master. That's why a painter from the humble corners, with preferences marked by the suburban atmosphere, skies of mist, simple houses, well-combed hills, gardens and rustic gardens, here's the environment of his canvas that They excel in sensitivity. Rebolo is not an intellectual, he despises complicated theories and only believes in the painter's human experience. (...) He also seduced him from still lifes and especially the flowers, which he always interprets with a lot of finesse. the entire modernist group of São Paulo, for its simplicity, for its probity, it conquered and preserves the sympathies of all. Self-taught, its uninterrupted progress shows how serious an effort is worth in the service of natural talent. accessible to the general public; Received in the most advanced halls, it is also susceptible to convince by the originality and freedom of the invoice".
Sérgio Milliet
MILLIET, Sérgio. ARAÚJO, Emanoel. Rebolo. São Paulo: MWM, 1986. (MWM-IFK Collection), p. 105. [Text published originally in Supplement of O Estado de São Paulo, São Paulo, 1941].

"For Rebolo, the landscape has always been the faithful inspiring of his art. Planting his easel in the middle of the countryside (...) he sought in wild nature what his delicate artist did not find in the artificial world of the city. Urban life, he always saw it through its proletarian suburbs... Without knowing it, he did the same as the Impressionists many years ago: he fled from the cosmopolitan environment to seek in the countryside the vibrant atmosphere of the open air. While the academics remained in his studio, improving the copper color of his home cookware, Rebolo ran to meet living matter and 'enter the reality of life', as he himself says. But the landscape and naive grinding wheel gradually gave way to the painter who was gaining intellectual depth every day. At a certain point, he throws himself at the figure. then to the still life. Coming soon to the most reflected drawings. He began to feel the need for compositional discipline. Only then does this self-taught self-taught come to know what a Cézanne represents. But he thinks he is happy that he was a 'wild'. He states, for some reason, that this must have never been contaminated by the vices that put so many people to lose."
Walter Zanini
ZANINI, Walter. Rebolo. São Paulo: MWM, 1986. (MWM-IFK Collection), P. 116. [Text originally published in O Tempo, 09/14/1952].

"Gonsales Rebolo, as an artist of our post-impressionism, is the prototype of handmade specimen that we would call the 'Paulistan' painter, parallel to the aesthetic specimen of the 'Paulista' painter. As a craftsman, by the way, it is of a rare retrospective and prospective probity. Prepare the supports, store and choose the screens, sensitize them with the action of time and magma, and then program the themes and adjust the pigments. (...) Its pigments are personal, in the sense that they result from choices, preferences, syntheses, brushes, spatulas, glazing, gamma and shifters. In such respect, its palette is rich and is always at the service of sensory materials, almost tactile. It would not be a rhetorical figure or analogous time to place it among our first 'fauves', due to the vibration of atmospheres. It is his work, alongside that of Volpi, Gomide, Zanini and Fiori, a pleasant neighborhood cosmogony, almost local, of wide use, however, from the visualization of the Vincentian coast to the accidents of the Tietê. Painter from São Paulo and São Paulo of such a size that he is ipso facto a national painter. of those who know the métier best and sensitizing him to his specific way".
José Geraldo Vieira
VIEIRA, José Geraldo. MWM, 1986. (MWM-IFK Collection), p. 118 [Text originally published in Folha Ilustrada, São Paulo, 09/10/1965.]

"The record of the daily life carried out by Rebolo has the character of an intimate diary that opens to the reader to be completed and maintain the dialogue: 'man and the world around' or 'man-nature'. The searched records are the simplest and most prosaic. It seeks to document one's own experience, in a personal way. This is how he records, from the window of his atelier in Santa Helena, São Paulo, which begins to grow, producing precious documents from a period of transition from the urban landscape, as in the works Rua do Carmo, from 1936, and Praça Clóvis, from 1944 - Observation Direct and simple of peaceful people and a city that transforms.

From the mid-1930s to the end of the 1940s, it has preferences for making outdoor landscapes. The option is to paint cities in the interior of the state or on the coast and, preferably, from the suburban region of São Paulo (...). It prefers a visual, free and intuitive scheme, and not mathematical. Nevertheless, it can be seen in its compositions Structural Safety and Tendency to Retort Similar Solutions. From the first works to the last phase, Rebolo shows an acute sensitivity in the composition of his works, balanced as if following a secret, preconceived scheme. From the beginning of his career, the triangular scheme and the appearance of three elements in highlights, such as a set of trees, a road, a hill or trees, people or animals, are currents. In the work Bois e Coqueiros, from 1967, the appearance of the set of three elements - houses, oxen and coconut trees - is so emphatic that it competes with the other elements of the composition. 'Clubinho', leaves with the family, for two years, for Europe. With the trip come visits to museums, workshops and the execution of new works. Italian architecture motivates him to carry out more rigorous works. The very strength of Renaissance architecture guides the construction of well-structured facades that accompany the typical shades of Roman architecture: ochers, lands. The work Rome, from 1956, ensures the discipline of the gaze and the lyricism of the 'eternal city'. From the visit to Pompeii is the mark of the famous Pompean red that appears in several European landscapes, such as, for example, Ravenna, from 1956, who moves away from a rigid construction and approaches a 'Fauve' composition. On the way back, in August 1957, he exhibited the canvases painted in Europe at the Museum of Modern Art. He comments that he was renewed, as if he had taken a bath as a youth. In 1959 Suzy indicates that he keeps memories of the European period, associating formal rigor with variants of Pompean red in the poetic vision of the flute-touched daughter. Moving away from the painting, after having suffered a heart attack. Leave the paints aside and start drawing. Recovered, in the 1960s, research on the subject is its fundamental brand. Faced with Marcelo Grassmann's insistence, he elaborates a series of engravings, looking for new developments. From 1960 to 1965, the influence of engraving translates into a slight 'farfalling' of colors. But inspiration for this type of painting, says Rebolo, comes from the contemplation of Etruscan paintings, marked by history: with intact parts next to forms eroded by time. For the painter, the peeling parts of this painting suggest new forms and constitute a source for new conceptions.
(...)
At the end of the 60s, he eliminates black, letting the light colors reappear. In the 70s, it resumes the structure lines and reduces the texture, reaching even the flat colors. It promotes a return to the magical touch of early times - a lyrical ring, marked by the purpose and restlessness, in which points of arrival approach the starting point. In recent years, he travels through several Brazilian states, recording typical places and the luminosity that distinguishes these places".
Elza Maria Ajzenberg
AJZENBERG, Elza Maria. Emanoel. Rebolo. São Paulo: MWM, 1986. (MWM-IFK Collection), p. 41-43 and 46-48.

"In two periods of his artistic life, Rebolo He devoted himself to engraving: from 1959 to 1962, he worked more than twenty woodcut hues and, in recent years, presented to us as much of the strong waters.

The use of woodcut It does not come to be a novelty in his work, because it represents a continuation, with new resources, of the monotypes, a process considered by many to be related to engraving and that grinding has been practicing for a long time. constitute a more extensive and durable process for the continuation of the work already started with the monotypes. Returning to the engraving, from 1970 onwards, Rebolo moved to metal and managed, in copper, a new symbiosis by watercoloring its strong waters.
(...)
Nevertheless, perhaps the most important to be highlighted, in the case of Rebolo's engravings, is that they can be and are appreciated for their condition of engravings, regardless of the artist's original intention, which was to use them as a traditional instrument for the development of his painting. Subjected to the traditional printing processes and keeping the print runs devoid of additions that the artist borrowed from the first tests, we have the verification of a highly defined quality, as and as engravings. And the appreciation reveals to us the engraver grinding wheel, with very own resources and free from the mannered deformations of the engraving professionals".
Marcelo Grassmann
GRASSMANN, Marcelo. The presence of engraving. In: ARAÚJO, Emanoel. Rebolo. São Paulo: MWM, 1986. (MWM-IFK Collection), p. 150.

"This permanence abroad provides the artist with new experiences: 'It was really one of the important things of my life, because I stayed in Europe for two years, taking courses, in contact with museums and attending the artistic circles. I confess that the greatness of the works I had the opportunity to see came to intimidate me, as soon as I returned, but I ended up absorbing new elements for my painting, due to the impact I had, I entered a phase of research and experiences, around 1960, which came to give my current work' ".
Celia Lucia Rodrigues Torres Parahyba Campos
Campos, Celia Lucia Rodrigues Torres Parahyba. Rebolo: a poetics of the landscape. 1990. 159 F. Thesis (Master in Arts) - School of Communication in Arts, Universidade São Paulo. São Paulo. P. 21.

Testimations

"Before painting, football had already marked my life. As in football, I think that in art, spontaneous things should be done, with the mark of love and enthusiasm, to be able to get emotional and move other people. Prado or at Café Guarani, on Rua XV de Novembro. After renting a room at 'Santa Helena', I started to have more contact with artists, some already graduated, others beginners, and this was beneficial for my development as a painter. We all painted with new ideas on our heads, wanting to escape bad taste and deformations prevailing in the art, and we had something very defined: the will to study and learn to paint.

It was there in the 'Santa Helena', even than the intellectuals And critics went to discover us. Sérgio Milliet, one of my closest friends, was one of the first, along with Mário de Andrade, Paulo Magalhães, Oswald de Andrade, Paulo Mendes de Almeida, Alfredo Mesquita, Quirino da Silva and many others. All were important for me to become better known and encouraged me to continue painting. For me, this stimulus has always been very beneficial.

There were many fights. One of the main ones was the one that provoked the recognition, in all sectors of the population, of the importance of modern art, which until the beginning of the 40s was still not seen with good eyes. We also fight for a professional attitude of the artist; We transformed the Association of Fine Arts into a Union of Plastic Artists and Musical Composers and we tried to bring together the artists around the defense of their interests, instituting the union tax and all these things. I have always thought that the artist, like every worthy professional, must live off his work and be able to dedicate himself fully to him. Therefore, I am pleased to see that today a part of the artists with some ballast already lives on their art and focused on it.
(...)
Very important, for me, it was also the travel award, which made it possible for me to live two years in Europe and created an even greater need to experience new things in my painting. Returning from there, in 1957, I lived a very rich period of research and I think they were decisive for my later phases, including the current one".
Francisco Rebolo
REBOLO, Francisco. Staff/Rebolo Deposta. In: Rebolo. Preface by Olívio Tavares de Araújo. Texts by Antonio Gonçalves de Oliveira and Elza Maria Ajzemberg Editor Emanoel Araújo. MWM-IFK). P. 150.

Individual exhibitions

1939 - São Paulo SP - First Individual, at Galeria Itá
1944 - São Paulo SP - Individual, at Livraria Brasiliense
1946 - São Paulo SP - Individual, at Galeria Itapetininga
1955 - São Paulo SP - Francisco Rebolo: Paintings, at MAM/SP
1957 - Rome (Italy) Embassy of Brazil
1957 - São Paulo SP - Francisco Rebolo: Paintings, at MAM/SP
1960 - Rio de Janeiro RJ - Individual, at Petite Galerie
1961 - São Paulo SP - Individual, at Casa of the plastic artist
1961 - São Paulo SP - Individual, at the Art Gallery K.L.M.
1961 - São Paulo SP - Individual, at Galeria São Luís
1964 - São Paulo SP - Individual, at Galeria São Luís
1966 - São Paulo SP - Francisco Rebolo: gouaches and drawings, at the Association of Friends of the Museum of Modern Art of São Paulo
1967 - São Paulo SP - Individual, at the plastic artist's house
1967 - São Paulo SP - Individual, at the gallery 4 planets
1968 - São Paulo SP - Individual, at Galeria Atrium
1969 - São Paulo SP - Individual, at the Comodoro Gallery
1973 - Brasília DF - Francisco Rebolo: Retrospective, at the Cultural Foundation of the District Federal
1973 - Brasília DF - Individual, at Oscar Seraphico Art Gallery
1973 - Rio de Janeiro RJ - Individual, at the Intercontinental Gallery
1973 - São Paulo SP - Rebolo: 40 years of painting, at MAM/SP
1974 - Brasília DF - Individual, at Oscar Seraphico Art Gallery
1974 - Porto Alegre RS - Individual, at IAB/RS
1974 - Recife PE - Individual, Ranulpho Art Gallery
1975 - São Paulo SP - Rebolo 75, at A Galeria
1976 - Brasília DF - Individual, at Oscar Seraphico Art Gallery
1977 - Fortaleza CE - Rebolo: Marines, Landscapes and Flowers, at the SHARP Gallery
1977 - Santos SP - Individual, at CCBEU
1978 - São Paulo SP - Individual, at the André Art Gallery
1979 - Brasília DF - Individual, at the Oscar Seraphico Art Gallery

Collective exhibitions

1935 - São Paulo SP - 3rd Paulista Salon of Fine Arts
1936 - Rio de Janeiro RJ - 42nd National Salon of Fine Arts, at Instituto Welfare - Bronze Medal
1936 - São Paulo SP - 4th Paulista Salon of Fine Arts - Gold Medal
1936 - São Paulo SP - Small paintings exhibition, at Palácio das Arcadas
1937 - Rio de Janeiro RJ - 43rd National Salon of Fine Arts, at the MNBA - Silver Medal
1937 - São Paulo SP - 1st Salão da Família Artistic Paulista, at Esplanada Hotel de São Paulo
1937 - São Paulo SP - 5th Salão Paulista de Belas Arts
1938 - São Paulo SP - 2nd Salon of May, at Esplanada Hotel de São Paulo
1938 - São Paulo SP - 4th Hall of the Plastic Artists Union
1939 - São Paulo SP - 2nd Salon of São Paulo Artistic Family, at Automóvel Clube
1939 - São Paulo SP - 3rd Salon of May, at Galeria Itá
1939 - São Paulo SP - 5th Hall of the Plastic Artists Union, at Galeria Prestes Maia
1939 - São Paulo Paulo SP - 6th Paulista Salon of Fine Arts
1940 - Rio de Janeiro RJ - 3rd Salon of the São Paulo Artistic Family with members of the Santa Helena Group, at the Palace Hotel
1940 - Rio de Janeiro RJ - 46th National Salon of Fine Arts, at the MNBA - Bronze Medal
1940 - São Paulo SP - 6th Hall of the Plastic Artists Union, at the Prestes Maia Gallery
1941 - São Paulo SP - 1st Art Salon of the National Industries Fair, at Parque da Água Branca
1942 - Rio de Janeiro RJ - 48th National Salon of Fine Arts, at the MNBA - Big Silver Medal
1942 - São Paulo SP - 7th Hall of the Plastic Artists Union, at the Prestes Maia Gallery
1943 - Rio de Janeiro RJ - Anti-Axis Exhibition, at the Historical and Diplomatic Museum - Itamaraty Palace
1943 - São Paulo SP - Anti-Axis Exhibition, at the Prestes Maia Gallery
1943 - São Paulo SP - Nelson Nóbrega, Clóvis Graciano and Francisco Rebolo, at Galeria Itá
1944 - Belo Horizonte MG - Exhibition of Modern Art, at the Mariana Building
1944 - London (England) - Exhibition of Modern Brazilian Paintings, at the Royal Academy of Arts
1944 - Norwich (England) - Exhibition of Modern Brazilian Paintings, at Norwich Castle and Museum
1944 - Rio de Janeiro RJ - 50th National Salon of Fine Arts, at MNBA
1944 - São Paulo SP - 8th Salon of the Plastic Artists Union, at the Prestes Maia Gallery
1944 - São Paulo SP - 9th Union Hall of plastic artists, at the Prestes Maia Gallery
1944 - São Paulo SP - Anita Malfati, Clóvis Graciano, Hilde Weber, Nelson Nóbrega, Francisco Rebolo and Alfredo Volpi, at the Jaraguá
1944 - São Paulo SP - Brazilian-North-American Modern Painting Exhibition, NA, Prestes Maia Gallery
1945 - Bath (England) - Exhibition of Modern Brazilian Paintings, NA Victory Art Gallery
1945 - Bristol (England) - Exhibition of Modern Brazilian Paintings, at the Bristol City Museum & Art Gallery
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 - Manchester (England) - Exhibition of Modern Brazilian Paintings, Manchester Art Gallery
1945 - São Paulo SP - 2nd French Exhibition, at the Prestes Maia Gallery
1945 - São Paulo SP - Alfredo Volpi, Bonadei, Carlos Prado, Quirino da Silva, Francisco Rebolo, Mario Zanini and José Pancetti, at the gallery Benedetti
1945 - São Paulo SP - Anita Malfati, Virginia Artigas, Clóvis Graciano, Mick Carnicelli, Oswald de Andrade Filho, José Pancetti, Carlos Prado, Francisco Rebolo, Quirino da Silva, Alfredo Volpi, Mario Zanini, at the Itapetininga Gallery
1945 - São Paulo SP - Galeria Domus: Inaugural Exhibition, at the Domus Gallery
1945 - São Paulo SP - Posthumous tribute to Mário de Andrade, at the gallery Itá
1946 - Rio de Janeiro RJ - The painters go to the Escola do Povo, at Enba
1946 - Santiago (Chile) - Exposicion of Contemporary Painting Brasileña, at Universidad de Chile. Instituto de Extensión de Artes Plásticas
1946 - São Paulo SP - 10th Hall of the Plastic Artists Union, at the Prestes Maia Gallery
1946 - São Paulo SP - 10th Hall of the Plastic Artists Union, at the Prestes Gallery Maia
1946 - Valparaíso (Chile) - Exposición de Painting Brasileña, at the Universidad de Chile. Instituto de Extensión de Artes Plásticas
1947 - São Paulo SP - Circulating Exhibition of Plastic Arts, in the modern division
1948 - Rio de Janeiro RJ - Painters from São Paulo, at MEC
1948 - São Paulo SP - Mario Zanini, Rebolo, Sérgio Milliet and Volpi, at the Domus gallery
1949 - Rio de Janeiro RJ - São Paulo painting exhibition
1949 - São Paulo SP - 13th Hall of the Plastic Artists Union - 1st Premium Mário de Andrade
1950 - São Paulo SP - Alfredo Volpi, Nelson Nóbrega, Zanini, Francisco Rebolo, at the Domus Gallery
1951- São Paulo SP - 1st International Biennial of São Paulo, Trianon Pavilion
1953 - Rio de Janeiro RJ - 2nd National Salon of Modern Art, at the MNBA - Acquisition Award
1954 - Goiânia GO - Exhibition of the National Congress of Intellectuals
1954 - Rio de Janeiro RJ - Salão Preto e Branco, at Palácio da Cultura
1954 - São Paulo SP - 3rd São Paulo Salon of Modern Art, at the Prestes Maia Gallery
1954 - São Paulo SP - Contemporary Art: Exhibition of the Museum of Art of São Paulo, in the MAM/SP
1955 - São Paulo SP - 3rd São Paulo International Biennial, at the Pavilion of Nations
1958 - Rio de Janeiro RJ - 7th National Salon of Modern Art, at MAM/RJ
1959 - Rio de Janeiro RJ - 8th National Salon of Modern Art, at MAM/RJ
1960 - São Paulo SP - São Paulo Salon of Modern Art, at the Prestes Maia Gallery
1962 - São Paulo SP - Selection of Brazilian works of art Ernesto Wolf Collection, at MAM/SP
1963 - Campinas SP - Contemporary Painting and Sculpture, at the Carlos Gomes Museum
1965 - Brasília DF - 2nd Federal District Modern Art Salon
1966 - São Paulo SP - Half a century of Art Nouveau, at MAC/USP
1966 - São Paulo SP - The Santa Helena Group, today, at Galeria 4 Planetas
1967 - São Paulo SP - The Santa Helena Group: 30 years later, in the auditorium Italy
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1970 - São Paulo SP - 2nd Panorama of Current Brazilian Art, at MAM/SP
1971 - São Paulo SP - Collective, at the Alberto Bonfiglioli Gallery
1972 - São Paulo SP - 2nd International Engraving Exhibition, at MAM/SP
1972 - São Paulo SP - The Week of 22: Background and Consequences, in the MASP
1972 - São Paulo SP - Art/Brazil/Today: 50 years later, at the Collectio Gallery
1972 - São Paulo SP - Brazilian theme, at the Paço das Artes
1973 - São Paulo SP - 5th Panorama of Current Brazilian Art, at MAM/SP
1973 - São Paulo SP - Eight painters of the Santa Helena group, at the Uirapuru Art Gallery
1973 - São Paulo SP - São Francisco de Assis, at Azulão Gallery
1975 - São Paulo SP - 13th São Paulo International Biennial, at the Bienal Foundation
1975 - São Paulo SP - 40 years: Grupo Santa Helena, at MIS/SP
1976 - Campinas SP - Aspects of Modernism in Brazil, at the Centro de Convivência Cultural de Campinas
1976 - São Paulo SP - 8th Panorama of Current Brazilian Art, at MAM/SP
1976 - São Paulo SP - The salons: from the São Paulo Artistic Family, from May and of the Plastic Artists Union of São Paulo, at the Lasar Segall Museum
1977 - São Paulo SP - Grupo Seibi - Santa Helena Group: Decade 35 to 45, at MAB/FAAP
1978 - Ribeirão Preto SP - 3rd Art Salon of Ribeirão Preto, at Casa da Cultura
1978 - Rio de Janeiro RJ - 18th Art and Ecological Thought, at the Euclides da Cunha Library
1978 - São Paulo SP - 16th Art and Thought ecological, at Cetesb
1978 - São Paulo SP - The landscape in the Pinacoteca collection, at the Pinacoteca do Estado
1978 - São Paulo SP - The groups, at the Lasar Segall Museum
1979 - São Paulo SP - 11th Panorama of Current Brazilian Art, at MAM/SP
1979 - São Paulo SP - Drawings of the 40s: Homage to Sérgio Milliet, at the Mário de Andrade Municipal Library
1979 - São Paulo SP - The Grupo Grupo Santa Helena, at Uirapuru Art Gallery

Posthumous exhibitions

1980 - Buenos Aires (Argentina) - Ochenta Años de Arte Brasileño, at Banco Itaú 1980 - Penápolis SP - 4th Northwest Plastic Arts Hall, at the Educational Foundation of Penápolis. Faculty of Philosophy, Sciences and Letters of Penápolis
1980 - São Paulo SP - 44th Salão Paulista de Belas Artes, at Galeria Prestes Maia
1980 - São Paulo SP - Highlight of the month, at the Pinacoteca do Estado
1980 - São Paulo SP - Landscape Painters, at the André Art Gallery
1981 - São Paulo SP - Art Library Collection, at Casa das Retortas
1981 - São Paulo SP - Engraving Exhibition, at Spazio Pirandello - Tribute from the Clube do Corinthians
1981 - São Paulo SP - Rebolo and the painters of Santa Helena, at Dan Galeria
1982 - Bauru SP - 80 years of Brazilian art
1982 - Marília SP - 80 years of Brazilian art
1982 - Penápolis SP - 5th Northwest Plastic Arts Salon, at the Penápolis Educational Foundation. Faculty of Philosophy, Sciences and Letters of Penápolis
1982 - Rio de Janeiro RJ - Football universe, at MAM/RJ
1982 - São Paulo SP - 80 years of Brazilian art, at MAB/FAAP
1982 - São Paulo SP - From Modernism to Biennial, at MAM/SP
1982 - São Paulo SP - Francisco Rebolo: Engravings, at Spazio Pirandello
1982 - São Paulo SP - Individual, at Galeria Presença and Art
1982 - São Paulo SP - Marines and Ribeirinhas, at the Lasar Segall Museum
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 - Ribeirão Preto SP - 80 years of Brazilian Art
1983 - Rio de Janeiro RJ - 6th National Salon of Plastic Arts, at MAM/RJ
1983 - Santo André SP - 80 years of Brazilian art, at the Municipality of Santo André
1984 - São Paulo SP - Tradition and rupture: synthesis of Brazilian art and culture, at the Bienal Foundation
1985 - Porto Alegre RS - Iberê Camargo: trajectory and meetings, at Margs
1985 - Rio de Janeiro RJ - 8th National Arts Salon Plasticas, at MAM/RJ
1985 - São Paulo SP - 100 Obras Itaú, at MASP
1985 - São Paulo SP - Featured at the event this month at MAC, at MAC/USP
1985 - São Paulo SP - Rebolo, the artisan of color, at the Lasar Segall Museum
1986 - Brasília DF - Iberê Camargo: trajectory and meetings, at the Cláudio Santoro National Theater
1986 - Rio de Janeiro RJ - Iberê Camargo: trajectory and meetings, at MAM/RJ
1986 - São Paulo SP - Iberê Camargo: trajectory and meetings, at MASP
1988 - São Paulo SP - Brasiliana: O Homem e a Terra, at Pinacoteca do State
1988 - São Paulo SP - MAC 25 years: Highlights of the Initial Collection, at MAC/USP
1989 - São Paulo SP - Painting Brazil 20th Century: Works from the Banco Itaú collection, in Itaugaleria
1989 - São Paulo SP - Thirty-three ways to see the world, at Ranulpho Art Gallery
1992 - Poços de Caldas MG - Brazilian modern art: collection of the Museum of Contemporary Art of the University of São Paulo, at the Casa de Cultura
1992 - São Paulo SP - Sérgio's look at Brazilian art: drawings and paintings, at the Mário de Andrade Municipal Library
1993 - Rio de Janeiro RJ - Brazil: 100 years of modern art, at MNBA
1993 - São Paulo SP - 100 Masterpieces of the Mário de Andrade Collection: Painting and Sculpture, at IEB/USP
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition commemorating the 70th anniversary of Unibanco, at Casa da Cultura
1994 - São Paulo SP - Bienal Brasil Século 20th, at the Bienal Foundation
1995 - Rio de Janeiro RJ - Unibanco Collection: Exhibition commemorating the 70th anniversary of Unibanco, at MAM/RJ
1995 - São Paulo SP - Grupo Santa Helena, at MAM/SP
1996 - Osasco SP - Expo Fieo: Donation Luiz Ernesto Kawall, at Centro Universitário FIEO
1996 - Rio de Janeiro RJ - The Santa Helena Group, at CCBB
1996 - São Paulo SP - Brazilian Art: 50 years of history at the MAC/USP collection 1920-1970, at MAC/USP
1996 - São Paulo SP - Figure and landscape in the MAM collection: tribute to Volpi, in the MAM/SP
1997 - Brasília DF - Exhibition of the Caixa Collection, in the Cultural Complex of Caixa Galeria
1997 - Porto Alegre RS - Exhibition of the Caixa Collection, in the Caixa Cultural Complex
1997 - Porto Alegre RS - Parallel Exhibition, at the Caixa Econômica Federal Museum
1997 - São Paulo SP - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1997 - São Paulo SP - Big names in Brazilian painting, at Jo Slaviero Galeria de Arte
1998 - Curitiba PR - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1998 - Rio de Janeiro RJ - Exhibition of the Caixa Collection, at the Caixa Cultural Complex
1998 - São Paulo SP - Highlights of the Unibanco Collection, at the Moreira Salles Institute
1998 - São Paulo SP - São Paulo iconography in private collections, at the Museu da Casa Brasileira
1998 - São Paulo SP - The Collector, at MAM/SP
1999 - Salvador BA - 60 years of Brazilian art, at Espaço Cultural of Caixa Econômica Federal
2000 - São Paulo SP - The human figure in the Itaú collection, at Itaú Cultural
2000 - São Paulo SP - Grupo Santa Helena, at Jo Slaviero Art Gallery
2001 - São Paulo SP - 4 decades, at Nova André Galeria
2001 - São Paulo SP - Brazilian Art Museum: 40 years old, at MAB/FAAP
2002 - Porto Alegre RS - Drawings, engravings, sculptures and watercolors, in the art garage
2002 - São Paulo SP - Art and Politics, at MAM/SP
2002 - São Paulo SP - Modernism: from the week of 22 to the Art Section of Sérgio Milliet, at CCSP
2002 - São Paulo SP - Workers at Paulista: MAC-USP and the Artist Artisans, at the SESI Art Gallery
2002 - São Paulo SP - Landscapes of the Imaginary, at the new André Galeria
2002 - São Paulo SP - Rebolo 100 years old, MAM/SP
2003 - Rio de Janeiro RJ - Caixa Treasures: 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 - MAC USP 40 years: Contemporary interfaces, at MAC/USP
2003 - São Paulo SP - One Heart, at MAM/SP
2004 - São Paulo SP - Paper Office CCSP
2004 - São Paulo SP - Individual, at Espaço Cultural Vivo
2004 - São Paulo SP - New acquisitions: 1995 - 2003, at MAB/FAAP

Source: Itaú Cultural E Paulo Victorino Texts