Glauco Rodrigues (Bagé RS 1929 - Rio de Janeiro RJ 2004)
Glauco Rodrigues was a painter, designer, engraver, illustrator and set designer. He began his artistic career in a self-taught way, starting to paint in 1945. In 1949, he received a scholarship from the Municipality of Bagé and, for three months, attended the National School of Fine Arts (ENBA), in Rio de Janeiro. In 1951, he founded the Clube de Engraving de Bagé, alongside Glênio Bianchetti (1928) and Danúbio Gonçalves (1925). He established himself in Porto Alegre, where he participated in the local engraving club, founded by Carlos Scliar (1920-2001) and Vasco Prado (1914-1998). In 1958, he moved to Rio de Janeiro, where he was part of the first team of the Senhor magazine. Between 1962 and 1965, he lived in Rome. After his return to Brazil, he participated in significant exhibitions, such as Opinião 66, at the Museum of Modern Art in Rio de Janeiro (MAM/RJ). In the late 1950s, his production began to approach abstraction, but in the 1960s, he returned to figuration, creating works influenced by pop art.
With humor, he addressed national themes such as the image of the Indian, the carnival, the Football, tropical nature and the history of Brazil, which inspired series such as Terra Brasilis (1970), Carta by Pero Vaz de Caminha (1971), in the country of Carnival (1982) and seven capital vices (1985). In the 1980s, he received the Gold Golfinho Award in Visual Arts from the Government of the State of Rio de Janeiro and published the book Glauco Rodrigues, which brings together all his work. In 1999, he was awarded the Ministry of Culture Candido Portinari Award in Visual Arts.
Critical Comment
Glauco Rodrigues began in painting in 1945, as a self-taught. In 1949, he has classes with the painter José Moraes (1921 - 2003), who installs a collective studio in the vicinity of Bagé, Rio Grande do Sul. of Fine Arts - ENBA, in Rio de Janeiro. With the artists Glênio Bianchetti (1928) and Danúbio Gonçalves (1925), he created the Clube de Engraving de Bagé, in 1951. Three years later, he is part of the Porto Alegre Engraving Club. During the period in which these recorder associations frequent, their works are aimed at the representation of the man from the countryside and to regional types and customs. He moved to Rio de Janeiro in 1959, when, as an illustrator, he is part of the first team of Senhor magazine. He lives in Rome between 1962 and 1965. Upon returning to Brazil, he participates in important exhibitions, such as Opinion 66, at the Museum of Modern Art in Rio de Janeiro - MAM/RJ.
Since the end of the 1950s and during the period in which It resides in Italy, its production is close to abstraction, as in the landscape of Porto Alegre, 1957, or assumes a declared abstract character, as occurs in the series of watercolors carried out in Rome. Returns to figuration in the early 1960s and produces works under the impact of pop art, such as O Mito, 1964/1965 and Pão de Açúcar, 1968 or the series Carta de Pero Vaz Caminha, 1971, in which the discovery of Brazil It is narrated as a comic book. From the 1970s onwards, he began to incorporate historical characters in his works, along with contemporary figures. often uses quotations from consecrated paintings, such as the figure of the Brazilian overthrower, 1879, by Almeida Júnior (1850 - 1899), present in Abrasileira-se, 1986 and Paz na Tarde, 1989, or First Mass in the Brazil, 1860, by Victor Meirelles (1832 - 1903), resumed in the work of the same name, dated 1980. On the screen A Ira, 1985 The figures of the fresco expulsion from Paradise are present. Renaissance painter Masaccio (1401 - 1428).
In his paintings there is a process of critical carnivalization of Brazilian visual culture: the presence of the Indian, carnival, football and tropical nature is constant, as in such a subtle nature, 1970 or Abaporu, 1981, in addition to the appropriate images of significant artists from the 19th century. Some critics highlight the hyper-realistic character of his paintings, as in A Juventude, 1970. He reveals in several works the interest in the Brazilian landscape, as in Icatu-Água Boa, 1975.
According to the critic Roberto Pontual, the work of Glauco Rodrigues shows a character of "critical tropicalism", questioning the Brazilian social and political context through identifiable characters from the historical past and using a slight irony. It starts from photographic sources, postcards or reproductions, considering photography as a fixer of facts and gathering on the surface of the canvas signs of a reality that presents itself as undeniably Brazilian: samba or the Índio, for example. On his canvas he constantly uses green and yellow and the Brazilian flag itself. In the critic's opinion, humor and the party are tactics by which the artist questions a series of clichés associated with the image of the country.
Criticism
"The critical spirit begins to emerge from 1969, in the first paintings of the Terra Brasilis series, when tropicalist enthusiasm and full understanding of Oswald de Andrade's anthropophagy lead him to elaborate photographic-realistic montages with the physical urban iconography of Brazilianness; takes advantage of the anarchic-constructive spirit of our roots and influences to reveal A hidden characteristic of order and decoding that reflects the reality of an unprecedented story, where the fait accompli, marked in time and space, is permeated by the permanent renewal in motion. Narrative is structured through the sum of icon-historical details that, intactly removed from the most diverse sources, are resized under a critical aspect in the search for the Brazilian collective unconscious, in a work of synthesis and justification of past and current time. Updating the classic images of Brazilian painting, by the insertion of trivial and everyday images collected in urbanity, recreates the fable of our destiny with ancestry and humor. His experience as an illustrator, diagrammer and graph served to influence the most recent phase of his work, when he went from abstractionism to the conquest of the transfigured real image, giving new life to the static document, with maximum fidelity to the spectical climate of time and space with great power of synthesis. and simplicity of language. A conceptual and critical work, typical of a contemporary creator ".
Samyra B. Serpa Crespo and others
LOUZADA, Júlio. São Paulo: J. Louzada, 1984.
"Regionalist and realistic when he was part of the Engraving Club, in 1950, informal in his European period (60s), Glauco Rodrigues performs, from the The 1970s, a painting focused on Brazilian themes, adopting resources from pop and hyper-realism, but facing our culture through the allegorical prism or carnivalization. as he himself confesses: 'I would say that I am a kind of samba school. My plot in 1970 was Terra Brasilis; in 1971, Letter from Pero Vaz de Caminha; In 1972, the eyes of the Lord are everywhere, beholding the wicked and the good; in 1973, guesses; in 1974, Accuratisima Brasiliae Tabula; in 1975, Pau-Brasil; in 1976, gaucho traditions; and Vision of the Earth in 1977'. In the most recent paintings, including Le But de la Peinture, from 1985, Glauco Rodrigues retraces his own parade, reaffirming and deepening the basic characteristics of his work, accentuating, however, the technical virtuosity and the erotic burden of the themes, of the Color and the very act of painting - Entire areas of pure color coexist with stains and vibrating brushes of the brush ".
Frederico Morais
The Collection: The Paths of Brazilian Art. São Paulo: Júlio Bogoricin, 1986.
"Glauco's return to figurative coincided with his return to Brazil and his way of finding the figurative and Brazil soon after 1964 - that Astonished paradise - was to use the metaphor. The anecdotal fact transformed by intelligence and critical acuity, the anecdotal fact and the pictorial fact finally reconciled into a common goal, the image used at the same time to delight the eyes and as a comment and suggestion. At the same time impact and reflection, realism and delusion. The metaphor was somewhat imposed by the restrictions of the time, when you needed to take care of it as you said things. but it was also the eye of Bagé placed on the detours of the Republic.
(...)
Glauco painted the boiling and fear. In successive exhibitions from this time on, he created a kind of great parade, in which Brazil saw itself in colorful allegories, such as on a catwalk.
At a time when you could write little about the dominant folly, Glauco put it in his frames. The juxtaposition of contrasting elements, all of them meticulously reproduced, for ironic or dramatic effects. Our autophagic vocation reaffirmed and at the same time satirized with quotes from old paintings and the evocation of a whole national graphic memory ".
Luis Fernando Verissimo
Rodrigues, Glauco. Glauco Rodrigues. Rio de Janeiro: Salamandra, 1989. P. 31-35.
"Forty years ago the work of Glauco Rodrigues has as its substance and objective a certain vision of his own country: Brazil. This corresponds to the current totality of his working time, from the drawing and the realistic engraving with which he started his way in the fields of Rio Grande do Sul to the successive series of paintings produced after the fixation in Rio de Janeiro. On the way, there is only one moment of exception to the rule: it was precisely when, living in Rome between 1962 and 1965, he made use of informal abstraction to compose analogies and still lifes, of nostalgic chromatic ardor. But with the return to the homeland and under the influx of affluent pop art, our artist soon set in motion a whole system of language, which, even now practiced, deserves the etiquette of 'critical tropicalism'. The homeland history from the ingredients in which it bubbles in the already half-millennial cauldron of the nation. In this particular thread of events, a matrix of truths and lies, of encounters and deviations, of hopes and frustrations can be seen, whose plot his scalp brush is willing to investigate. The operation, however, has nothing of the factional linearity of a discourse that wanted to prove at all costs how this or that would have happened. It is much more questioning than affirmation. and questioning by the irony, the farce, the derision: opera bufas of national existence, composed with the memory of the nude and the dress, the raw and the stew, the tribe and the metropolis. Pieces of Brazil anthropophagically redeemed to set up a new, coherent and complete map. There, subconscious and actuality, finally united by logical link, they prefigure a country without complexes and without masks, ready to lead their future.
The unity of the system with which Glauco Rodrigues operates is the cliché, this image of the image through which the view of things settles and becomes immovable in the flow of time. Each of its paintings works as a stage occupied by scenarios and characters coming from other places and situations, easily recognizable. Starting from a photographic base (since the photograph is but a fixer of facts?), it regroups on the painted surface, by appropriation of inheritance, the immediate signs of a reality that presents itself as disproportionately, irrefutablely 'Brazilian': the sun and the Samba, the Índio and the Copacabana bather, the white Eve and the black rogue, the drama and the magic, the evasion and the repression, the misery and exuberance - Baroque excesses of how we see ourselves and how we are seen. In a recent painting, whose title echoes verses from a popular song (there is no sin on the underside of the equator), all these clichés come together in apotheosis. Brazil seems to show itself there as a whole, more authentic than ever. Be careful, however: so much effusion of the breed is nothing more than a veil, facade, fantasy to undress when Carnival ends. It is then that the artist intersects, between fire and gray ".
Roberto Pontual
Rodrigues, Glauco.U un opera nomme Bresil Paris: Galerie Etienne Dinet, 1990.
Testimonies
"In 1945, when the Second World War had not yet ended, I, Glênio Bianchetti and others formed a group in Bagé, in Rio Grande do South. [...] In 1949, I went to Rio de Janeiro. Young, I was marked by this fate of almost all Brazilian artists, that is, being self-taught, and suffering hundreds of influences, which is why, a year later, I found myself in a dead end, too influenced by the Paris School and, mainly, by Picasso. My painting was then at a point that put me practically without prospects. At that time, I made a kind of airlift between Bagé and Rio de Janeiro. On one of my trips to my hometown, I had the idea of doing something I hadn't done in my life as a painter: a classic learning experience. An in-depth study of drawing, form, composition, seeking to draw anatomy and planning in the manner of Leonardo da Vinci. It turns out that, at that moment, in Bagé, were Glênio Bianchetti, who had walked through Porto Alegre, and Danúbio Gonçalves, who had arrived from Europe. We met and we were all, more or less, at the same impasse. Soon after, Carlos Scliar returned, who had participated in that universal conflict, which he had returned to Brazil with the same intention of doing this learning, since modernism had taken him away from the classical study. Hence, the famous Engraving Club of Porto Alegre emerged, where we started to draw. [... Our] learning was taken very seriously, so much so that we worked with a living model, and constituted a way out of that obstacle, which had taken me to the school in Paris, allowing me to return to classical painting, to a clear and clear figuration. In fact, working together, in this learning, there was a reciprocal teacher position among all, because each one was the master of each one of us, given the criticism we made of the work carried out. At the same time, our interest in the customs, traditions and landscapes of Rio Grande do Sul was born, giving rise to an art that was not quite a social realism, which is why it was characterized by a regional realism.
Glauco Rodrigues a Hugo Auler, 7 of September 1977
uler, Hugo. One of the ways of a Brazilian art? Correio Brasiliense, Brasília, n. 7, Sept. 1977.
"What was done in Brazil in 50 It was an art with a whole influence of the Paris school and our group thought that we had to make Brazilian art and we went to the detail of the thing, portraying our customs. That was our position. We were a group here in Rio Grande do Sul and our position was very contested. [...]
We had as a project the interconnected work and the mutually exercised criticism, in order to put into practice our awareness that only by documenting the real, with the most demanding fidelity, we would be fulfilling the duty of every artist, which is to serve. From Porto Alegre, we left for the countryside, in this search for the specific gaucho. The more private, the more universal, the more gaucho, the more Brazilian. Between 1950 and 1954, the adventure unfolded intensely. Drawing and engraving served an immediate, concrete goal. [...]
First the work has to be good and then insofar as it is Brazilian it is universal. Because we are Brazilians we are inserted in a western world and we have influences from European painting. What cannot be done is copying. We have to digest these influences and besides, there is a series of information that we cannot isolate ourselves. I follow my nose, I don't make concessions."
Glauco Rodrigues, September 13, 1977
LOPEZ, Maria Beatriz. Glauco Rodrigues Always close to the gaucho theme. Zero Hora, Porto Alegre, N. 13, Sept. 1977.
"I would say that I am a kind of samba school. My plot in 1970 was Terra Brasilis; in 1971, Letter from Pero Vaz de Caminha; In 1972, the eyes of the Lord are everywhere contemplating the wicked and the good; in 1973, guesses; in 1974, Acuratissima Brasiliae Tabula; in 1975, Pau Brasil; In 1976, gaucho traditions and, in 1977, Vision of the Earth: The Legend of Caotipurú. The precursor painting of all these plots is of such a subtle nature, painted in 1970, where the flag-bearer Neide and the Delegate Room Master, such as Arara, Rainbows, Bananas, etc. I obey the regulation: my colors are green-yellow-blue and white, with gold, silver and skin colors being allowed".
Glauco Rodrigues
Rodrigues, Glauco. Tropical Apotheosis: Exhibition Parade with Paintings by Glauco Rodrigues Rio de Janeiro: Fundação Casa-França Brasil, 1991.
Individual exhibitions
1961 - Rio de Janeiro RJ - Glauco Rodrigues: Painting, at Petite Galerie
1962 - Munich (Germany) - Glauco Rodrigues: Watercolor, at the Consulate General of Brazil in Munich
1962 - São Paulo SP - Glauco Rodrigues: Drawing, at Petite Galerie
1963 - Frankfurt (Germany) - Glauco Rodrigues: Watercolor, at the House of Culture in Frankfurt
1963 - Rome (Italy) - Glauco Rodrigues: Painting, at Galeria d'Arte della Casa do Brazil
1963 - Stuttgart (Germany) - Glauco Rodrigues: Watercolor, at Maercklin Gallery
1964 - Rio de Janeiro RJ - Vinyl tempers and watercolors from Rome between 1962/64, at Petite Galerie
1965 - Rio de Janeiro RJ - Glauco Rodrigues: Painting at Petite Galerie
1965 - Rome (Italy) - 50 DISEGNI DAL 1960 to 1963, at Galeria Bianco e Nero
1966 - Porto Alegre RS - Glauco Rodrigues: Painting, drawing and serigraphy, at Galeria Leopoldina
1966 - Rio de Janeiro - Glauco Rodrigues: Painting, watercolor, drawing and objects, in the relief gallery
1967 - Rio de Janeiro RJ - Drawings for the signs of the film Girl from Ipanema, at the Santa Rosa Gallery
1968 - Porto Alegre RS - Glauco Rodrigues: Drawing, at Galeria Leopoldina
1969 - Rio de Janeiro RJ - Beach scenes, at Petite Galerie
1970 - Rio de Janeiro RJ - Terra Brasilis: Painting, at Galeria Bonino
1971 - New York (United States) - Individual, at Iramar Gallery
1971 - São Paulo SP - Letter from Pero Vaz Caminha about the discovery of the new land that made Pedro Álvares Cabral to El Rey Nosso Senhor: sequence of 26 paintings, in the art gallery Portal
1973 - Brasília DF - Guessing: Painting, at Oscar Seraphico Art Gallery
1973 - Rio de Janeiro RJ - Glauco Rodrigues 1964/1973: paintings in the private collections, in the center Cultural Lume
1973 - Rio de Janeiro RJ - Proverbs: The eyes of the Lord are everywhere, contemplating the good and the bad, at the Luiz Buarque de Hollanda and Paulo Bittencourt gallery
1974 - São Paulo SP - Acuratíssima Brasiliae Tabula, at the Ipanema Art Gallery
1975 - Rio de Janeiro RJ - Pau Brasil, at the Ipanema Art Gallery
1977 - Porto Alegre RS - Gaucho traditions: paintings and Serigraphies, at IAB/RS
1977 - Rio de Janeiro RJ - The Legend of Coati-Puru, at the Ipanema Art Gallery
1977 - São Paulo SP - Glauco Rodrigues: Aquarela do Brasil, in the gallery de Arte Ipanema
1979 - Rio de Janeiro RJ - Tourist and Historical Guide of Rio de Janeiro in the Time of the Vice-Reis: Homage to Leandro Joaquim, at the Ipanema Art Gallery
1980 - Bagé RS - Glauco Rodrigues: Lithographies, at the Brazilian Engraving Museum
1981 - Brasília DF - Glauco Rodrigues: Brazilian imaginary landscapes, at Oscar Seraphico Art Gallery
1981 - Porto Alegre RS - Souvenirs, at Cambona Centro de Arts
1981 - Rio de Janeiro RJ - Glauco Rodrigues in the country of Carnival: Homage to Tarsila, at the Art Gallery of Gávea
1983 - Porto Alegre RS - Glauco Rodrigues from 1952 to 1983, at Masson Art Gallery
1985 - Rio de Janeiro RJ - Glauco Rodrigues: The 7 capital vices, at Galeria Estampa
1986 - São Paulo SP - Individual, at the São Paulo Art Office
1987 - Rio de Janeiro RJ - Picturesque and historic trip to Brazil, at GB Art
1988 - Rio de Janeiro RJ - Glauco Rodrigues: Aquarelas, at GB Art
1989 - Porto Alegre RS - Glauco Rodrigues: Gráficas, at Espaço Cultural BFB
1989 - Porto Alegre RS - Glauco Rodrigues: Imaginary gaucho landscapes, at the Mosaic Art Gallery
1989 - São Paulo SP - Individual, at the São Paulo Art Office
1989 - São Paulo SP - Individual, at Paulo Prado Art Gallery
1990 - Paris (France) - UN Opera Nomme Bresil, at the Galerie Étienne Dinet
1990 - São Paulo SP - Glauco Rodrigues: paintings and watercolors, in the São Paulo Art Office
1991 - Rio de Janeiro RJ - Apoteose Tropical, at Fundação Casa França-Brasil
1995 - Barra Mansa RJ - Individual, at the Centro Universitário de Barra Mansa
1999 - Porto Alegre RS - individual, at the Mosaic Art Gallery
Collective exhibitions
1948 - Porto Alegre RS - Os Novos de Bagé, in the newspaper Correio do Povo
1949 - Rio de Janeiro RJ - 55th National Salon of Fine Arts - Modern Division at the MNBA - Honorable Mention
1950 - Rio de Janeiro RJ - 56th National Salon of Fine Arts - Modern Division, at the MNBA - Bronze Medal
1951 - Rio de Janeiro RJ - 57th National Salon of Fine Arts - Modern Division, at the MNBA - Silver Medal
1952 - Porto Alegre RS - Porto Alegre Engraving Club
1952 - Rio de Janeiro RJ - 1st National Salon of Modern Art, MAM/RJ
1953 - Rio de Janeiro RJ - 2nd National Salon of Modern Art, at the MNBA
1954 - Goiânia GO - Exhibition of the National Congress of Intellectuals
1954 - Rio de Janeiro RJ - Salão Black and White, at the Palácio da Cultura
1956 - São Paulo SP - Contribution to Realism, at MAM/SP
1959 - São Paulo SP - 5th São Paulo International Biennial, at the Ciccilo Matarazzo Pavilion Nephew
1960 - Rio de Janeiro RJ - 4th National Salon of Modern Art, at MAM/RJ - Travel to the Country Award
1961 - Paris (France) - 2nd Youth Biennial
1961 - Rio de Janeiro RJ - 1st The face and the work, at the IBEU Copacabana gallery
1961 - São Paulo SP - 6th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion
1961 - São Paulo SP - Collective, at Petite Galerie
1962 - Kassel (Germany) - Brasilianische Kunstler der Gegenwart, at Kasseler Kunstverein
1962 - Spoleto (Italy) - Brazilian prints and drawings
1962 - Washington (United States) - Spotlight in Brazil, OAS
1963 - Spoleto (Italy) - Arte del Sud America
1964 - Venice (Italy) - 32nd Venice Biennale
1966 - Houston (United States) - Collective, at Kiko Gallery
1966 - Rio de Janeiro RJ - Self-portraits, at the IBEU Copacabana gallery
1966 - Rio de Janeiro RJ - Opinion 66, at MAM/RJ
1966 - Rio de Janeiro RJ - Supermarket 66, at Galeria Relivo
1967 - Petrópolis RJ - 1st National Youth Painting Hall, at Hotel Quitandinha
1967 - Rio de Janeiro RJ - Collective, at Petite Galerie
1967 - Rio de Janeiro RJ - New Brazilian Objectivity, at MAM/RJ
1967 - São Paulo SP - 9th São Paulo International Biennial, at the Bienal Foundation - Acquisition Award
1968 - Belo Horizonte MG - Serigrafias, at UFMG. Faculty of Letters
1968 - Cáli (Colombia) - 1st Salão Austral y Colombian Painting - Honorable Mention
1968 - Rio de Janeiro RJ - 1st Art Fair of Rio de Janeiro, in the MAM/RJ
1968 - Rio de Janeiro RJ - Collective, at the Copacabana Palace Art Gallery
1968 - Rio de Janeiro RJ - Collective, at Galeria Santa Rosa
1968 - Rio de Janeiro RJ - The Brazilian artist and Mass iconography, at Esdi
1968 - São Paulo SP - Collective, at the Cosme Velho Gallery
1968 - Rio de Janeiro RJ - 1st Art Fair of Rio de Janeiro, at MAM/RJ
1969 - São Paulo SP - Collective, at Cosme Velho Gallery
1969 - São Paulo SP - Collective, at Paço das Artes
1970 - Rio de Janeiro RJ - Collective, at Galeria Espaço
1971 - New York (United States) - Collective, at Iramar Gallery
1971 - Rio de Janeiro RJ - 50 years of Brazilian modern art, at MAM/RJ
1971 - Rio de Janeiro RJ - 9th Summary of Art JB, in the MAM/RJ
1972 - Rio de Janeiro RJ - 1st Serigraphy Exhibition, at MNBA
1972 - Rio de Janeiro RJ - 50 years of Brazilian art: Gilberto Chateaubriand collection, at the IBEU gallery Copacabana
1972 - Rio de Janeiro RJ - Exhibition, at MAM/RJ
1972 - São Paulo SP - Art/Brazil/Today: 50 years later, at Galeria da Collectio
1973 - Bagé RS - Quatro de Bagé, at Fundação Attila Taborda
1973 - Belo Horizonte MG - Collective, at Theodor Herzl School
1973 - Rio de Janeiro RJ - Some aspects of Brazilian design, at the Ibeu Copacabana Gallery
1973 - Rio de Janeiro RJ - Homage to Eneida, at Galeria Chica da Silva
1974 - Rio de Janeiro RJ - Renouveau de la Figuration, at the Maison de France gallery
1976 - Bagé RS - 2nd Meeting of Plastic Artists, at the Dom Diogo de Souza Museum
1976 - Porto Alegre RS - For a Brazilian art: Grupo de Bagé, at UFRGS. Institute of Arts
1976 - Porto Alegre RS - Gaucho Traditions, at UFRGS. Arts Institute. Pinacoteca Barão de Santo Ângelo
1976 - Salvador BA - Brazilian art from the 60s/70s at the Gilberto Chateaubriand collection, at MAM/BA
1976 - São Paulo SP - Artists from Rio, at Azulão Gallery
1977 - Belo Horizonte MG - 5th Global Winter Hall, at the Palácio das Artes Foundation
1977 - Brasília DF - 5th Global Winter Hall
1977 - Brasília DF - Brazilian art from the 60s/70s at Gilberto Chateaubriand Collection, at the Cultural Foundation of the Federal District
1977 - Recife PE - Brazilian art from the 60s/70s in the Gilberto Chateaubriand collection, in the mansion of João Alfredo
1977 - Rio de Janeiro RJ - 2nd Art Now: Vision of the Earth, at MAM/RJ
1977 - Rio de Janeiro RJ - 5th Global Winter Salon, at MNBA
1977 - São Paulo SP - 5th Global Winter Hall, at MASP
1978 - Curitiba PR - 1st Annual Engraving Exhibition City of Curitiba, at the Creativity Center
1978 - São Paulo SP - 1st Latin American Biennial of São Paulo, at the Biennial Foundation
1978 - São Paulo SP - The object in art: Brasil 60s, at MAB/FAAP
1979 - Curitiba PR - 1st Brazilian Drawing Exhibition, in the exhibition hall of the Guaíra Theater
1981 - Panama City (Panama) - 8 artistic expresiones, at the Atlapa Convention Center. Anayansi Theater
1981 - Rio de Janeiro RJ - From the modern to the contemporary: Gilberto Chateaubriand Collection, at MAM/RJ
1981 - Rio de Janeiro RJ - Carnival universe: images and reflections, in the Art Galeria Collection
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Modern Art Center
1982 - Lisbon (Portugal) - From modern to contemporary: Gilberto Collection Chateaubriand, at the José de Azeredo Perdigão Modern Art Center
1982 - London (England) - Brazil 60 years of modern art: Gilberto Chateaubriand collection, at the Barbican Art Gallery
1982 - Rio de Janeiro RJ - What is this house of Brazilian art
1983 - Porto Alegre RS - Art Livro Gaúcho: 1950/1983, at Margs
1983 - Porto Alegre RS - From the past to the present: the plastic arts in Rio Grande do Sul, at Cambona Centro de Artes
1983 - Rio de Janeiro RJ - 6th National Salon of Plastic Arts, at MAM/RJ
1983 - Rio de Janeiro RJ - Brazilian self-portraits, at the Art Gallery Banerj
1983 - São Paulo SP - 14th Panorama of Current Brazilian Art, at MAM/SP
1984 - London (England) - Portrait of Country: Brazilian Modern Art from the Gilberto Chateaubriand Collection, at the Barbican Art Gallery
1984 - Rio de Janeiro RJ - Recent donations 82-84, at the MNBA
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-portrait of Brazilian Art, at MAM/SP
1985 - Brasília DF - Brasilidade e Independência, at the National Theater Cláudio Santoro
1985 - Porto Alegre RS - Iberê Camargo: trajectory and meetings, in the Margs
1985 - Rio de Janeiro RJ - 8th National Salon of Plastic Arts, at MAM/RJ
1985 - Rio de Janeiro RJ - Portrait of the collector in his collection, at the Banerj Art Gallery
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
1987 - Rio de Janeiro RJ - to the collector: tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - Rio de Janeiro RJ - Rio de Janeiro, February and March: from Modernism to Generation 80, at the Art Gallery Banerj
1988 - Novo Hamburgo RS - Carlos Scliar, Glauco Pinto de Moraes and Glauco Rodrigues, at the Contemporary Gallery
1988 - Rio de Janeiro RJ - 88 x 68: a balance of the years
1988 - Rio de Janeiro RJ - Le Déjeuner sur l'art: Manet in Brazil, at EAV/Parque Lage
1988 - Salvador BA - The illustrators of Jorge Amado, at Fundação Casa de Jorge Amado
1989 - Juiz de Fora MG - Each head a sentence, at the Mariano Procópio Museum
1989 - Ouro Preto MG - Inconfidente ideology in Process, at the Museum of Inconfidência
1989 - Rio de Janeiro RJ - Brazilian engraving: 4 themes, at EAV/Parque Lage
1989 - Rio de Janeiro RJ - Yesterday, today, tomorrow, at the Rio Business Center Gallery
1989 - São Paulo SP - 20th São Paulo International Biennial, at the Bienal Foundation
1990 - Goiânia GO - 20 years of the Goiânia Museum of Art, at the Museum of Art
1991 - São Paulo SP - The forest, at MAC/USP
1991 - São Paulo SP - Man and Nature, at MAC/USP
1992 - Rio de Janeiro RJ - 1st on the way to Niterói: João Sattamini Collection, at the Imperial Palace
1992 - Rio de Janeiro RJ - Art engraving in Brazil: Proposal for a mapping, at CCBB
1992 - São Paulo SP - 60s/70s: Gilberto Chateubriand Collection/Museu de Arte Moderna-RJ, in the SESI Art Gallery
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstendeckung, at Kunsthaus Zürich
1993 - Rio de Janeiro RJ - Brazil 100 years of modern art, at MNBA
1993 - Rio de Janeiro RJ - The role of Rio, in the Imperial Palace
1993 - Rio de Janeiro RJ - Paixão do Olhar, at MAM/RJ
1993 - São Paulo SP - The modern design in Brazil: Gilberto Chateaubriand Collection, at the SESI Art Gallery
1994 - Lisbon (Portugal) - Beyond Taprobana: the human figure in the visual arts of Portuguese-speaking countries, at the National Society of Belas Arts
1994 - Rio de Janeiro RJ - The modern design in Brazil: Gilberto Chateubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trencheiras: Art and Politics in Brazil, at MAM/RJ
1994 - São Paulo SP - Bienal Brasil Século 20th, at the Bienal Foundation
1994 - São Paulo SP - Poetics of 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 - In addition to Taprobana: the human figure in the visual arts of Portuguese-speaking countries, at MAM/RJ
1996 - Bagé RS - Bagé Group: engraving, at the Brazilian Engraving Museum
1996 - Belo Horizonte MG - Itinerant impressions, at Palácio das Artes
1996 - Porto Alegre RS - Bagé group in the Margs collection, at Margs
1996 - Porto Alegre RS - Bagé Group at the Gravura Club, at the Caixa Econômica Federal gallery
1996 - Porto Alegre RS - Bagé Group: Engraving and current affairs, at the Municipal Culture Center
1996 - Porto Alegre RS - Bagé Group: Painting and Current Affairs, at the Mosaic Art Gallery
1996 - São Paulo SP - Ex Libris/Home Page, at Paço das Artes
1997 - Brasília DF - Bagé group at the engraving club: 50's, at the Caixa Econômica Federal gallery
1997 - Curitiba PR - Bagé Group at the Engraving Club: 50's, at the Caixa Econômica Federal gallery
1997 - Rio de Janeiro RJ - Bagé Group at the Engraving: 50's, at the Caixa Econômica Federal gallery
1997 - Rio de Janeiro RJ - Poems visited, at the Correios Cultural Space
1997 - São Paulo SP - Bagé Group at the Engraving Club: Decade of 50, at the Caixa Econômica Federal gallery
1998 - Rio de Janeiro RJ - The image of the sound of Caetano Veloso, at Paço Imperial
1998 - São Paulo SP - Fronteiras, at Itaú Cultural
1998 - São Paulo SP - Impressions: The Art of Brazilian Engraving, at the Banespa-Paulista Cultural Space
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1999 - Porto Alegre RS - Art Garage: Inaugural Exhibition, in the Art Garage
1999 - Rio de Janeiro RJ - Daily life/art. The object 60/90, at MAM/RJ
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving. Brazilian modern engraving: Collection National Museum of Fine Arts, in the MNBA
1999 - São Paulo SP - daily life/art. Consumption, at Itaú Cultural
1999 - São Paulo SP - daily life/art. Object 60s/90s, at Itaú Cultural
2000 - Brasília DF - Brazil Europa Exhibition: Meetings in the 20th Century, in the Cultural Complex of Caixa
2000 - Rio de Janeiro RJ - Brazil + 500 Rediscovery Exhibition. Letter from Pero Vaz de Caminha, at the National Historical Museum
2000 - São Paulo SP - Almeida Júnior: A revisited artist, at the Pinacoteca do Estado
2000 - São Paulo SP - Brazil + 500 Rediscovery Show. Black with body and soul, at the Bienal Foundation
2000 - São Paulo SP - Investigations: Brazilian engraving, at Itaú Cultural
2001 - Brasília DF - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Penápolis SP - Investigations. The Brazilian engraving, at Galeria Itaú Cultural
2001 - Rio de Janeiro RJ - Trailing the engraving, at the Museu da Chácara do Céu
2002 - Niterói RJ - Paper collection, at MAC/Niterói
2002 - Porto Alegre RS - Drawings, engravings, sculptures and watercolors, in the art garage
2002 - Rio de Janeiro RJ - Caminhos do Contemporânea 1952-2002, at Paço Imperial
2002 - Rio de Janeiro RJ - Identities: The Brazilian portrait in the Gilberto Chateaubriand Collection, at MAM/RJ
2003 - Rio de Janeiro RJ - Caixa Treasury: 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
2004 - Rio de Janeiro RJ - New Acquisitions 2003: Gilberto Chateubriand Collection, at MAM/RJ
Source: Itaú Cultural
