José Cláudio (Ipojuca PE 1932)
Painter, designer, engraver, sculptor, art critic and writer.
In 1952, José Cláudio, Alongside Abelardo da Hora (1924), Gilvan Samico (1928) and Wellington Virgolino (1929 - 1988), among others, founded the collective studio of the Society of Modern Art of Recife - SAMR. Later, in Salvador, José Cláudio is guided by Mario Cravo Júnior (1923), Carybé (1911 - 1997) and Jenner Augusto (1924 - 2003). He travels to São Paulo in 1955, where he initially works with di Cavalcanti (1897 - 1976), also studying engraving with Lívio Abramo (1903 - 1992) at the School of Crafts of the Museum of Modern Art of São Paulo - MAM/SP. He receives a scholarship from the Rotelini Foundation in 1957, staying for a year in Rome at the Academy of Fine Arts. Back in Brazil, he takes up residence in Olinda and writes articles on visual arts for the Diário da Noite, in Recife. He performs paintings of a figurative character, portraying regional scenes and landscapes of the Northeast, however, avoiding the picturesque character. The artist writes, throughout his career, several presentation texts for exhibitions by northeastern painters, such as the show Oficina Pernambucana (1967). He publishes, among others, the book Memória do Ateliê Coletivo (1978), in which he brings together testimonials from the various artists who are part of the group. Recife's Modern Art Society - SAMR, alongside Abelardo da Hora (1924), Gilvan Samico (1928) and Wellington Virgolino (1929 - 1988), among others. The Ateliê Coletivo is a study center for drawing and engraving aimed at an art of social character and operates in Recife between 1952 and 1957. Later, in Salvador, José Cláudio is guided by Mario Cravo Júnior (1923), Carybé. (1911 - 1997) and Jenner Augusto (1924 - 2003).
The artist travels to São Paulo in 1955, where he studies engraving with Lívio Abramo (1903 - 1992) at School of Crafts of the Museum of Modern Art of São Paulo - MAM/SP. In 1957, he received a scholarship from the Rotelini Foundation and remained for a year in Rome, at the Academy of Fine Arts. Back in Brazil, he takes up residence in Olinda and writes articles on visual arts for the Diário da Noite, from Recife. as in Patio do Mercado (1972) or Rua Leão Coroado (1973). In Casa Vermelha de Olinda (1973), the dialogue with abstraction, formal simplification, free use of brush strokes and intense coloring stand out. In his works we can see the admiration for artists from the Paris School and also by the expressionists, as in the series of female nudes, from the end of the 1970s. and contrasting. In 1975, the artist participated in an expedition to the Amazon, promoted by the Museum of Zoology of the University of São Paulo, recording several regional aspects in several oil drawings.
In 1980, José Cláudio created a series of canvases in which Reinterprets the painting The home of the model, by the painter Ituano Almeida Júnior (1850 - 1899). In these works it reveals the tendency to abolish the depth of the pictorial plane, simplifying the formal elements, which tend to a geometrization. In 1985, he paints outdoor landscapes, such as Ipojuca and Serrambi, using wide and energetic brush strokes.
The artist writes, throughout his career, several presentation texts for exhibitions by Northeastern painters, such as the exhibition Oficina Pernambucana (1967). He publishes, among others, the book Memória do Ateliê Coletivo (1978), in which he brings together testimonials from the various artists who are part of the group. that the first emotion does not even allow or admit amendments and corrections. This results in a certain impression of carelessness and ill-finishing that sometimes inspires his work, however, it is about deliberately obtained effects, the result of his accentuated love for matter. Expressionist, making use of a Strict design, of a wide and spontaneous brushstroke of a deep color, from the point of view of the theme José Cláudio focused on regional scenes and types, on regional customs and on the landscape, birds and fruits of its northeast, but stripping them of any picturesque content, only to focus on their pictorial expression. A sensual and a Dionysian, hedonist who, in his own words, in front of a beautiful sleeve does not know whether to paint it or sucking it, José Cláudio also turned to the problem of artistic creation - as a painter, in the series of great oils he dedicated in the early 1980s to the rest of the model, by Almeida Júnior - dismembered, rearticulated, reinterpreted in each of its multiple formal and psychological aspects -, and as a writer, historian of the art from Pernambuco, in a style as little alombly as his painting, (...)".
José Roberto Teixeira Leite
LEITE, José Roberto Teixeira. Critical Dictionary of Painting in Brazil. Rio de Janeiro: ArtLivre, 1988.
Carves
Collection Museum of Contemporary Art of the University of São Paulo - MAC/USP - São Paulo SP
Artistic-cultural collection of palaces of the State Government de São Paulo - São Paulo SP
Banco Itaú S.A. - São Paulo SP
Individual exhibitions
1956 - São Paulo SP - First solo, at the Clube dos Artistas e Amigos das Artes (Clubinho)
1963 - São Paulo SP - Individual, at Galeria São Luís
1966 - Recife PE - Individual, at the Casa Hollanda Gallery
1970 - Recife PE - Individual, at the Detailed Gallery
1975 - São Paulo SP - Individual, at Renato Magalhães Gouvêa Art Office
1977 - São Paulo SP - Individual, at Renato Magalhães Gouvêa Art Office
1977 - Recife PE - Individual, at Galeria Artespaço
1977 - São Paulo SP - Individual, at Galeria Nara Roesler
1977 - Recife PE - Individual, at Gatsby Arte
1980 - São Paulo SP - Individual, at Renato Magalhães Gouvêa Art Office
1980 - Porto Alegre RS - Individual, at Galeria Kraft
1981 - Recife PE - Individual, at Galeria Artespaço
1982 - São Paulo SP - Individual, at Renato Magalhães Gouvêa Art Office
1983 - Recife PE - Individual, Galeria Artespaço
1986 - Rio de Janeiro RJ - Individual, at Galeria Ipanema
Collective exhibitions
1954 - Recife PE - 1st exhibition of the collective studio
1954 - Recife PE - Painting Hall of the Museum of the State of Pernambuco - Honorable Mention
1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art
1956 - São Paulo SP - São Paulo Hall of Modern Art
1957 - São Paulo Paulo SP - 4th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion
1959 - São Paulo SP - 5th São Paulo International Biennial, at the Ciccilo Matarazzo Sobrinho Pavilion
1961 - São Paulo SP - Leirner Contemporary Art Award, at the Folhas Art Gallery - 1st Drawing Award
1961 - São Paulo SP - 6th São Paulo International Biennial, at the Ciccilo Matarazzo Pavilion Sobrinho
1963 - São Paulo SP - 7th São Paulo International Biennial, at the Bienal Foundation
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1971 - São Paulo SP - 3rd Panorama of Current Brazilian Art, at MAM/SP
1975 - Brussels (Belgium) - Image du Brésil, at the Manhattan Center - organized by Masp
1976 - São Paulo SP - The drawing in Pernambuco, at Galeria Nara Roesler
1982 - Rio de Janeiro RJ - Entre a Mancha and the Figure, at MAM/RJ
1983 - Rio de Janeiro RJ - 3 x 4 Large formats, at the Galeria do Centro Empresarial Rio
1983 - São Paulo SP - 14th Panorama of Current Brazilian Art, at MAM/SP
1984 - Rio de Janeiro RJ - Interventions in the Urban Space, at Funarte. Sérgio Milliet Gallery
1984 - São Paulo SP - Tradition and rupture: synthesis of Brazilian art and culture, at Fundação Bienal
1985 - São Paulo SP - 18th São Paulo International Biennial, at the Biennial Foundation
1986 - Brasília DF - Pernambucanos in Brasília, at the ECT Galeria de Arte
1986 - Fortaleza CE - Imagine: the planet salutes the comet, in the art gallery
1986 - Rio de Janeiro RJ - 1st Christian Exhibition Dior of Contemporary Art: Painting, at Paço Imperial - Awarded
1987 - Recife PE - José Cláudio and Gil Vicente, at the Pernambuco State Museum
1987 - São Paulo SP - The biennials in the MAC collection: 1951 1985, at MAC/USP
1988 - Rio de Janeiro RJ - Le Déjeuner sur l'art: Manet in Brazil, at EAV/Parque Lage
1988 - Rio de Janeiro RJ - Abolition, At the Ipanema Art Gallery
1988 - São Paulo SP - Afro-Brazilian Hand, at MAM/SP
1988 - São Paulo SP - The rhythms and forms: contemporary Brazilian art, at Sesc Pompéia
1989 - Copenhagen (Denmark) - The rhythms and forms: contemporary Brazilian art, at the Charlottenborg Museum
1989 - Recife PE - Nature of painting, at the Adalgisa Falcão Cultural Center
1989 - Olinda PE - Viva Olinda Viva, at Atelier Coletivo
1990 - Olinda PE - Permanence of Painting, at Atelier Coletivo
1991 - São Paulo SP - A Mata, at MAC/USP
1992 - Rio de Janeiro RJ - Coca-Cola 50 years with art, at MAM/RJ
1992 - São Paulo SP - Coca-Cola 50 years with Art, MAM/SP
1992 - Rio de Janeiro RJ - Collective Atelier, at the Candido Mendes Cultural Center
1993 - Hamburgo (Germany) - Atelier Coletivo, at KM Wolff
1993 - São Paulo SP - 23rd Panorama of Current Brazilian Art, at MAM/SP
1993 - São Paulo SP - Works for illustration of the Literary Supplement: 1956 - 1967 - MAM/SP
1994 - São Paulo SP - Marinhas, at the Nara Roesler Gallery
2000 - São Paulo SP - Almeida Júnior: a revisited artist, at the Pinacoteca do Estado
2000 - Recife PE - Atelier Pernambuco: Homage to Bajado and the MAMAM Collection, at MAMAM
2003 - São Paulo SP - Art and Society: a relationship Controversy, at Itaú Cultural
Source: Itaú Cultural
