Oswaldo Goeldi (Rio de Janeiro RJ 1895 - Idem 1961)
Oswaldo Goeldi was a recorder, designer, illustrator and teacher. Son of the Swiss scientist Emílio Augusto Goeldi, he moved as a baby with his family to Belém, Pará, where he lived until 1905, when he moved to Bern, Switzerland. At the age of 20, he joined the Engineering course at the Polytechnic School of Zurich, but did not complete it. In 1917, he enrolled at the École des Arts et Métiers in Geneva, leaving the course because he considered it excessively academic. From then on, he began to take classes in the studio of artists Serge Pahnke and Henri Van Muyden. Also in 1917, he held his first solo exhibition at the Wyss Gallery, in Bern, when he had contact with the work of Alfred Kubin, who became his main artistic influence and with whom he maintained correspondence for several years.
In 1919, he took up residence in Rio de Janeiro, acting as an illustrator for magazines such as for everyone, reading for all and Brazilian illustration. In 1921, he held his first solo exhibition in Brazil, in the lobby of the Liceu de Artes e Ofícios. In 1923, he began in woodcutting with the sculptor Ricardo Bampi. During the 1930s, he released the album 10 Engravings in Madeira by Oswaldo Goeldi, with an introduction by Manuel Bandeira. He also produced drawings and engravings for various periodicals and books, such as Cobra Norato, by Raul Bopp, published in 1937, containing his first colored woodcuts.
In 1941, he worked on the illustration of the complete works. by Fyodor Dostoevsky, published by the publisher José Olympio. From 1952 onwards, he began his career as a teacher at Escolinha de Arte do Brasil. In 1955, he became a professor at the National School of Fine Arts (ENBA), in Rio de Janeiro, where he founded a woodcut workshop. In 1995, the Centro Cultural Banco do Brasil honored the centenary of its birth with a retrospective exhibition in Rio de Janeiro.
Critical Comment
Oswaldo Goeldi was born in Rio de Janeiro. Son of the Swiss scientist Emílio Augusto Goeldi, he moved to Belém, Pará, at the age of 1. His father founds in the city the Museum of Natural History and Ethnography, today Museum Emílio Goeldi. He lives in Belém until he is 6 years old. He moves with his family to Bern, Switzerland, where he begins his studies. Interested in engineering, he goes to Zurich and enters the Polytechnic School in 1914. His stay in the city is troubled. Europe is experiencing the beginning of World War I (1914-1918) and, upon admission to the Polytechnic, Goeldi is summoned for military service, interrupting her studies. In the Army, he acts as a watchdog on the border and stays away from combat. About a year later, his interest in drawing grows as he diminishes the desire to continue studying engineering.
In 1917, after the death of his father, the artist leaves the polytechnic and transfers to Geneva, with the aim of studying art. He spends six months at Ecole des Arts et Métiers. He is disappointed, and starts to take classes in the studio of the artists Serge Pahnke (1875 - 1950) and Henri van Muyden (1860 - s.d.). After a short period under the tutelage of the two, he definitively abandons his art studies. However, it works a lot. His production is shown in a first solo, later that year, at the Wyss Gallery, in Bern. In the exhibition, he learns the work of Alfred Kubin (1877 - 1959). This contact is decisive for their formation. Goeldi is interested in the imaginative and dark aspect of his scenes. In this period, his drawings incorporate morbid themes, set in terrifying scenarios. At the same time, he befriended the painter Hermann Kümmerly. He carries out the first lithographs with him.
Goeldi returns to Brazil in 1919 and takes up residence in Rio de Janeiro. It adapts with difficulty to life in Rio. He, who felt "a sentimental European",1 resents the cultural gap and provincialism of society. Two years later, he exhibits in the lobby of the Liceu de Artes e Ofícios, already acting as an illustrator in the magazine para Todos, since the year of his disembarkation. The show is poorly received by the press and gives it the measure of the resistance of the Brazilian artistic milieu to the artistic advances of Europe. Despite the negative comments, the exhibition brings him closer to a group of writers, artists and intellectuals interested in creative renewal, such as Beatrix Reynal, Aníbal Machado (1894 - 1964), Otto Maria Carpeaux (1900 - 1978), Manuel Bandeira (1886 - 1968), Álvaro Moreyra (1888 - 1964), Ronald de Carvalho (1893 - 1935), Di Cavalcanti (1897 - 1976) and Rachel de Queiroz (1910 - 2003), who still had no prestige. Support, however, is not enough. The artist is shaken. He becomes increasingly averse to the cultural world of Rio de Janeiro and close to bohemian life.
In 1922, he had a disagreement with his family. Annoyed, the relatives try to send him to Europe. The group of intellectuals who had approached the artist, avoided their departure and strives to guarantee their permanence in the country. In 1923, he began experiments with woodcuts. approaches the technique through Ricardo Bampi. He says he starts recording to "impose a discipline to the ramblings to which the drawing took him".2 In testimony to the critic and poet Ferreira Gullar (1930) he says he felt "the need to give control to these ramblings".3 At that time, Goeldi moved to Niterói, where he can work isolated. She does xylos, drawings and illustrations and contributes to the journal O Malho. According to historian Noemi Silva Ribeiro, at the end of the 1920s Goeldi started to survive as an illustrator.4 collaborates in magazines, makes images for the novel Canaã (1928), by Graça Aranha (1868 - 1931), and for the book Mangrove (1929), by Benjamin Conslatlat (1897 - 1961). The images, however, are not published. In 1930, he released the album 10 Engravings em Madeira, with a preface by Manuel Bandeira. In its engravings the surface is predominantly black. In abandonment (1930), the figures appear leaked in the ink. Goeldi opens a few traces in the wood, with which light, in his xilos, seems to fight to gain presence among black surfaces.
With the sale of the album, it raises money to go to Europe. exhibits in Bern and Berlin. He meets his friend Kümmerly again and exposes with him in Muri, Switzerland. He visits Alfred Kubin, with whom he had corresponded since 1926. Goeldi recognizes the debt with the Austrian artist, with whom he has correspondence for life. During his stay, he makes some drawings and leaves work in collections in Switzerland, Austria and Germany. He returns to Brazil around 1932. That year he experiences the use of color in his woodcuts.
In 1937, he illustrates the book Cobra Norato (1931) by Raul Bopp (1898 - 1984), with colorful works. At that moment, the main interpreters of Goeldi's work highlight the removal of his main reference: Alfred Kubin. This does not diminish his admiration for the Austrian. His work gradually takes other directions, 5 affirming a proper and singular language. His images, also visionary, unlike those of the Austrian master, however, refer to reality, not fantastic worlds. The furrows made in Madeira reveal what Carlos Drummond de Andrade (1902 - 1987) calls "the unreality of the real".6 The astonishment that is part of our daily lives.
In the 1940s, his life as illustrator consolidates. In 1941, he regularly collaborates in the newspaper A Manhã. In the same decade, he made images for the magazine Clima and for books by Dostoevsky (1821 - 1861) and Cassiano Ricardo (1895 - 1974). The recognition becomes more evident from 1950 onwards, the year in which it exhibits at the 25th Venice Biennale. A year later, he won the Engraving Award for the 1st International Biennial of São Paulo. In this decade, the color appears more pronounced in its engravings. In O Ladrão (ca.1955), the artist shows colorful shapes in the intervals of the black spot that predominates in the scene. In 1956, his first retrospective was held at the Museum of Modern Art in São Paulo - MAM/SP. At that moment, Goeldi is already a renowned artist. In addition to working on his engravings regularly, in 1952, he began his teaching career at the Escolinha de Arte do Brasil. Three years later, he teaches woodcut at the National School of Fine Arts - ENBA. With him, among others, the artists Antonio Dias (1944), Gilvan Samico (1928) and Anna Letycia (1929) study. On Ash Wednesday on February 15, 1961, Oswaldo Goeldi is found dead in his small apartment.
Notes
1 Letter from Goeldi to Kümmerly dated February 16, 1935. In: RIBEIRO, Noemi Silva (Org.) and LAKS, Sérgio (Org.). Oswaldo Goeldi: a self-portrait. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p.12.
2 NAVES, Rodrigo. Goeldi. São Paulo: Cosac & Naify, 1999. (Brazilian Art Space) . p.21. Quote from the book ZILIO, Carlos (org.). Oswaldo Goeldi. Rio de Janeiro: Solar Grandjeandjean de Montigny, s/d. p.108
3 Idem, ibidem.
4 RIBEIRO, Noemi Silva (Org.) and LAKS, Sérgio (org.). Oswaldo Goeldi: a self-portrait. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p.12.
5 NAVES, Rodrigo. Goeldi. São Paulo: Cosac & Naify, 1999. (Brazilian Art Space). p.20.
6 Drummond de Andrade, Carlos. to Goeldi. In: _____. Carlos Drummond de Andrade: poetry and prose. 6.ed. Rio de Janeiro: Editora Nova Aguilar, 1988.
Criticism
"Abandonment and oblivion form the axis of Goeldi's work; felled cans, stray dogs, furniture in the open. However, because they are not remembered, things seem to be still preserved here from pettiness, full of mystery and potency. places, calling them to life. Their affection, however, cannot have the solidity and objective clarity of those who have forgotten them. Hence the continuous and always renewed twilight of these works.
(...) However, enchantment and suspension also characterize these engravings and drawings. This comes, I believe, from the intense formal analogy between its elements. Full are empty, houses are streets, vultures are umbrellas, windows look at us. echoing discreetly from one another, as if it had not yet formed at all. This incomplete individuation is a large part of Goeldi's originality, and allows the expressionist distortions that influenced him to abdicate his despair. The world of Goeldi is a world in suspension, its inhabitants still awaken and seek each other, and they walk to their deaths, they do so in solidarity. Hence the calm of his sadness, where abandonment and communion coexist".
Nuno Ramos
ramos, Nuno. Para Goeldi. São Paulo: As Studio,1996. p. 17-18.
"The European experience did not let him finish the Brazilian experience. Maybe even upset her. Both, however, entered the composition of their art, giving human and poignant universality.
His look at things is loaded with such intense subjective force that he soon transforms them into vision. Almost always tragic view. The most common everyday image - a street corner, an object, someone passing by - Goeldi turns it into a mysterious presence. What he discovers in each thing is his substance of poetry, veiled by the automatism of our habitual perception. Not having inks for the pictorial expression of his creations, he has to play only with the lines, the values of the chiaroscuro, the vibrations of the dash, and the rhythm of the shapes. Only exceptionally, it uses color in the engravings, as in the fisherman and in the illustrations of Cobra Norato, a poem by Raul Bopp. Converging risks that suggest the directions of wind and light - it graphically affects a power to evoke shapes and environments that it would not achieve with painting. The sensualism and musicality of color would not fit his tight temper. On the other hand, what he achieves with the dark and the dash allows him to fix certain aspects untranslatable by other plastic means.
The main content of the visible things is found in the invisible world that they are at the same time the signal and the projection incomplete. It's behind. At least one artist like Goeldi, used to deciphering the unreadable of the depths that appearances cover. For him, abstract art has no reason to be; It is necessary to create new forms; It is enough to elevate to the visionary plane those that already exist, surrounding them with a halo of poetry in which they lose their opacity and surrender their mystery.
But it is not solely under the incidence of such or that poetic light that things radiate better and acquire symbol value; also by the neighborhood that is given to them, by the way they are arranged in the work of art. It would be said that the forms seek to see themselves with those who live separately. The famous 'fortuitous meeting on the dissection table of a sewing machine with an umbrella' (Lautréamont) reproduces indefinitely in nature between objects-characters, distributed in capricious formation."
Anibal Machado
Machado, Aníbal. Goeldi. In: Matrices of Expressionism in Brazil: Abramo, Goeldi and Segall. São Paulo: MAM, 2000.
Testimonies
"The infinite horizons that were opened for me by contemplating the abundance of his [Kubin] works - 1930 In my very short visit to Wernstein - and the kind words that the Lord addressed me They force me to be eternally grateful to you. What at the time seemed new to me, in his works, was the touching one - the emotion they convey, unlike other creations, which we like more because of their reach. I don't know if I could make myself understood. It was a very strong experience for me. Some of Munch's works, and especially Van Gogh's drawings, speak to me intimately. In Van Gogh's works, the nerve is exposed, painful, but I am very pleased. However, no one has such a magnitude as the Lord, this wealth; Nobody has expressed so strongly their innermost self - this I say without blind enthusiasm."
Oswaldo Goeldi - Rio, May 8, 1933
Goeldi, Oswaldo. Correspondence to Alfred Kubin (Rio, 8/05/1933). In: RIBEIRO, Noemi Silva (org.). Oswaldo Goeldi: a self-portrait. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p. 170.
"There is a lot of talk today about innovations, opening paths, etc... But technical experiments should not be confused with true innovation. Every truly creative artist innovates, and that's because he expands his technical means in proportion to his expression needs. This innovation alone is legitimate - the innovation that is dictated by an inner need. Innovating by innovating is meaningless. I know of artists who spent their whole lives innovating and could not do more than "innovations"... In fact, many metal innovations date back to the 1950s. On the other hand, there are examples of recorders, such as Jacques Villon, who, starting from the traditional technique, made the passage to a greater synthesis of forms, without abandoning the true meaning of the engraving. There was always in Villon's career a wise balance between technique and creation ever more in depth. Villon is a true classic of modern engraving. Another that can be placed next to him is Lionel Feininger with his xylos and his strong waters. But put a print of Friedlander next to one of Villon: Friedlander's disappears. Finally, since artifices and tricks replaced the engraving, there is no more purpose to say whether the engraving is good or bad".
Oswaldo Goeldi
GOELDI, Oswaldo. In: BRITO, Ronaldo; ROESLER, Sílvia (coord.). Oswaldo Goeldi. Rio de Janeiro: Instituto Cultural The Axis, 2002. 228 p., Il. P&B color. p. 208. [Interview by Oswaldo Goeldi a Ferreira Gullar for Jornal do Brasil, January 12, 1957]
Acerves
Bank of the State of Rio de Janeiro - Banerj
Fundação Biblioteca National
Rio de Janeiro Museum of Modern Art - MAM
National Museum of Fine Arts - MNBA
Museums Castro Maya/Iphan
National Museum of Austria Superior - Lanesmuseum, Linz
Exhibitions Individuals
1917 - Bern (Switzerland) - Individual, at the WYSS gallery
1921 - Rio de Janeiro RJ - Individual, at the Liceu de Artes e Ofícios
1930 - Bern (Switzerland) - Individual, at the Gutekunst Gallery & Klipstein
1938 - Belém PA - Individual, at the Public Archive Library
1951 - São Paulo SP - Individual, at the Domus Gallery
1952 - Paris (France) - Individual, at the Association Artistique et Litteraire
1952 - Rio de Janeiro RJ - Individual, at the Langenbach Gallery & Tenreiro
1952 - Santiago (Chile) - Individual, at the Museo de Arte Moderno
1954 - Salvador BA - Individual, at Galeria Oxumaré
1956 - São Paulo SP - Individual, in the MAM/SP
1956 - Rio de Janeiro RJ - Goeldi: Retrospective, at MAM/RJ
1958 - Rio de Janeiro RJ - Individual, at Galeria G. E. A.
1959 - São Paulo SP - individual, in the Langebach Gallery & Tenreiro
1959 - São Paulo SP - Individual, at Piccola Galeria - Italian Institute of Culture
Posthumous exhibitions
1961 - Rio de Janeiro RJ - 1st The face and the work, at the IBEU gallery Copacabana
1961 - São Paulo SP - 6th São Paulo International Biennial, at MAM/SP
1962 - Buenos Aires (Argentina) - Individual, at the Museo Nacional de Bellas Artes
1962 - São Paulo SP - Marcelo Grassmann, Eduardo Sued, Oswaldo Goeldi and Darel, at Galeria Residency
1964 - São Paulo SP - Goeldi: Nelson Mendes Caldeira Collection, at MAB/FAAP
1966 - Ribeirão Preto SP - 40 national and foreign engravings from the MAC collection, at the School of Plastic Arts in Ribeirão Preto
1966 - Rio de Janeiro RJ - Self-portraits, at the Ibeu Copacabana Gallery
1966 - Salvador BA - 1st National Biennial of Fine Arts
1966 - São Paulo SP - 40 national and foreign prints from the MAC collection, at MAC/USP
1966 - São Paulo SP - engravings and drawings Goeldi, at MAB/FAAP
1968 - Piracicaba SP - 40 national and foreign engravings of the MAC collection, at ESALQ/USP
1969 - São Paulo SP - 10th International Biennial of São Paulo, at the Bienal Foundation
1970 - Olinda PE - 40 national and foreign prints from the MAC collection, at the Pernambuco Museum of Contemporary Art
1970 - Penápolis SP - 40 national and foreign engravings from the MAC collection
1971 - São Paulo SP - 11th São Paulo International Biennial, at the Bienal Foundation
1972 - São Paulo SP - The Week of 22: Background and Consequences, at MASP
1972 - São Paulo SP - Drawings and Engravings by Goeldi: Nelson Mendes Caldeira Collection, at MAB/FAAP
1974 - Rio de Janeiro RJ - Goeldi-Grassmann-Messias, at the Rio de Janeiro Art Scholarship
1974 - Rio de Janeiro RJ - The sea, at the Ibeu Copacabana Gallery
1975 - São Paulo SP - Modernism from 1917 to 1930, at the Lasar Segall Museum
1976 - São Paulo SP - The halls: of the São Paulo artistic family, May and the São Paulo Plastic Artists Union, at the Lasar Segall Museum
1978 - Rio de Janeiro RJ - 1st National Salon of Plastic Arts - Three Masters of Engraving of Brazil, at MNBA
1979 - São Paulo SP - 15th São Paulo International Biennial, at the Bienal Foundation
1980 - Rio de Janeiro RJ - Homage to Mário Pedrosa, at the Jean Boghici Gallery
1982 - Lisbon (Portugal) - Brazil 60 years of art Modern: Gilberto Chateaubriand Collection, at the José de Azeredo Perdigão Modern Art Center
1982 - London (United Kingdom) - Brazil 60 years of modern art: Gilberto Chateaubriand collection at Barbican Art Gallery
1982 - São Paulo SP - From Modernism to Bienal, at MAM/SP
1982 - São Paulo SP - Six Brazilian Expressionist Recorders: Segall, Goeldi, Abramo, Renina, Poty, Grassmann, at the Lasar Segall
1983 - Olinda PE - 2nd Exhibition of the Abelardo Rodrigues Collection of Plastic Arts, at MAC/PE
1983 - São Paulo SP - Oswaldo Goeldi, at the Art Gallery 1984 - Curitiba PR - 6th The woodcut in the history of Brazilian art, at Casa Romário Martins
1984 - Curitiba PR - 6th Mostra da Engraving Cidade de Curitiba, at the Cultural Foundation
1984 - Porto Alegre RS - Engravings: A trajectory in time, at Cambona Centro de Arte
1984 - Ribeirão Preto SP - Brazilian tape recorders 50/60, at the Campus Gallery - USP - Banespa
1984 - Rio de Janeiro RJ - A Woodcut in the history of Brazilian art, at Funarte. Sérgio Milliet Gallery
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: Synthesis of Brazilian Art and Culture, at the Foundation Bienal
1985 - Porto Alegre RS - Iberê Camargo: trajectory and meetings, at Margs
1985 - Rio de Janeiro RJ - 8th National Salon of Plastic Arts, at MAM/RJ
1985 - São Paulo SP - 18th São Paulo International Biennial, at the Bienal Foundation
1986 - Brasília DF - Iberê Camargo: trajectory and meetings, at the National Theater
1986 - Curitiba PR - 7th Collection of the National Museum of Engraving - Casa da Engraving, at the Guido Viaro Museum
1986 - Porto Alegre RS - Brazilian Drawing Paths, at Margs
1986 - Rio de Janeiro RJ - Iberê Camargo: trajectory and meetings, in the MAM/RJ
1986 - São Paulo SP - Iberê Camargo: trajectory and meetings, at MASP
1987 - Paris (France) - Modernity: Brazilian art of the 20th century, at the Musée d'Arte Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the collector: Homage to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 18th Panorama of Current Brazilian Art: Art on Paper, in the MAM/SP
1987 - São Paulo SP - 19th São Paulo International Biennial - Singular Imaginaries, at the Biennial Foundation
1987 - São Paulo SP - The Biennials in the MAC collection: 1951 A 1985, at MAC/USP
1987 - São Paulo SP - Modernity: 20th century Brazilian art, at MAM/SP
1988 - Curitiba PR - 8th Mostra da Engraving Cidade de Curitiba, at the Cultural Foundation
1988 - Lisbon (Portugal) - Pioneers and disciples, at the Calouste Gulbenkian Foundation. Calouste Gulbenkian Cultural Center
1988 - São Paulo SP - Brasiliana: O Homem e a Terra, at the Pinacoteca do Estado
1988 - São Paulo SP - MAC 25 years: Highlights of the initial collection, MAC/USP
1988 - São Paulo SP - Modernity: 20th century Brazilian art, at MAM/SP
1989 - Rio de Janeiro RJ - Brazilian engraving: 4 themes, at EAV/Parque Lage
1989 - Rio de Janeiro RJ - Brazilian engraving: 4 themes, at EAV/Parque Lage
1990 - São Paulo SP - The art collection of the municipality of São Paulo, at Masp
1991 - Curitiba PR - Municipal Museum of Art: Collection, at the Municipal Museum of Art
1991 - São Paulo SP - A Mata, at MAC/USP
1991 - São Paulo SP - Man and Nature, at MAC/USP
1992 - Curitiba PR - 10th Mostra da Engraving City of Curitiba/Mostra América, at the Engraving Museum
1992 - Rio de Janeiro RJ - Art engraving in Brazil: proposal for a mapping, at CCBB
1992 - Rio de Janeiro RJ - Nature: four centuries of Art in Brazil, at CCBB
1992 - Zurich (Switzerland) - Brasilien: Entdeckung und Selbstentdeckung, at Kunsthaus Zürich
1993 - João Pessoa PB - Xylograph: From Cordel to Galeria, at Funesc
1993 - Poços de Caldas MG - Mário de Andrade Collection: Modernism in 50 works on paper, at the Casa de Cultura de Poços de Caldas
1993 - Rio de Janeiro RJ - Brazil 100 years of modern art, at MNBA
1993 - São Paulo SP - The modern design in Brazil: Gilberto Chateaubriand collection, at the SESI Art Gallery
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition commemorating the 70th anniversary of Unibanco, at the Casa de Cultura de Poços de Caldas
1994 - Rio de Janeiro RJ - The modern design in Brazil: Gilberto Chateubriand Collection, in the MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: 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 the Resistance: aspects of Brazilian engraving, at the SESI Art Gallery
1994 - São Paulo SP - Woodcut: from cordel to the gallery, at subway stations and at Masp
1995 - Belo Horizonte MG - Image Derivative: A look at the unfolding of the engraving today, in the map
1995 - Londrina PR - Brazilian art: confrontations and contrasts, in the international pavilion Octávio Cesário Pereira Júnior
1995 - Rio de Janeiro RJ - Unibanco Collection: Exhibition commemorating the 70th anniversary of Unibanco, at MAM/RJ
1995 - Rio de Janeiro RJ - Oswaldo Goeldi: a self-portrait, at CCBB
1995 - São Paulo SP - Goeldi: Our time, at MAB/FAAP
1995 - São Paulo SP - Goeldi: Your time at IEB/USP
1996 - São Paulo SP - Ex Libris/Home Page, at Paço das Arts
1996 - São Paulo SP - Figure and landscape in the MAM collection: Homage to Volpi, at MAM/SP
1996 - São Paulo SP - Oswaldo Goeldi Mestre Visionário, at the SESI Art Gallery
1997 - Barra Mansa RJ - The museum visits the gallery (1997 : Barra Mansa, RJ) - Centro Universitário de Barra Mansa (RJ)
1998 - São Paulo SP - 24th São Paulo International Biennial, at the Biennial
1998 - São Paulo SP - Impressions: The Art of Brazilian Engraving, at the Banespa Cultural Space
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - O Modern and the contemporary in Brazilian art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - São Paulo SP - Os Collectors - Guita and José Mindlin: matrices and engravings, at the SESI Art Gallery
1999 - Niterói RJ - Shows Rio Engraving. Banerj Collection, at the Ingá Museum
1999 - Rio de Janeiro RJ - Goeldi: prints, matrices and drawings, at Casa França - Brazil
1999 - Rio de Janeiro RJ - Brazilian modern engraving: collection National Museum of Fine Arts, MNBA
1999 - Rio de Janeiro RJ - Brazilian Literature and Engraving, at ABL
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving. Brazilian modern engraving: MNBA collection, in the MNBA
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving. Brazilian Literature and Engraving, at the Brazilian Academy of Letters
1999 - Rio de Janeiro RJ - Exhibition Rio Engraving: Oswaldo Goeldi, at the Correios Cultural Space
1999 - São Paulo SP - Daily life/art. Consumption, at Itaú Cultural
1999 - São Paulo SP - Oswaldo Goeldi, at the Thomas Cohn Gallery
2000 - Brasília DF - Brazil Europe Exhibition: Meetings in the 20th Century, in the Cultural Complex of Caixa
2000 - Curitiba PR - 12th Exhibition of the Engraving of Curitiba. body marks, folds of the soul
2000 - Lisbon (Portugal) - 20th century: art of Brazil, at the José de Azeredo Perdigão Modern Art Center
2000 - Porto Alegre RS - National Library: Obras Raras, at the of Art of Rio Grande do Sul
2000 - Rio de Janeiro RJ - Headquarters of Expressionism in Brazil: Abramo, Goeldi and Segall, at the Paço Imperial
2000 - Rio de Janeiro RJ - When Brazil was modern: Rio de Janeiro from 1905 to 1960, at Paço Imperial
2000 - São Paulo SP - Brazil + 500 rediscovery show. Modern Art, at the Bienal Foundation
2000 - São Paulo SP - Investigations. The Brazilian engraving, at Itaú Cultural
2000 - São Paulo SP - Matrixes of Expressionism in Brazil: Abramo, Goeldi and Segall, at MAM/SP
2000 - São Paulo SP - The role of art, in the art gallery of SESI
2000 - Valencia (Spain) - From La Anthropophagia to Brasilía: Brazil 1920-1950, in Ivam. Center Julio Gonzáles
2001 - Brasília DF - Investigations. The Brazilian engraving, in Itaugaleria
2001 - Penápolis SP - Investigations. The Brazilian engraving, at Itaugaleria
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at the Light Cultural Center 2001 - Brasília DF - Investigations. Brazilian engraving
2001 - São Paulo SP - Brazilian Art Museum: 40 years old, at MAB/FAAP
2001 - São Paulo SP - Trajectory of light in Brazilian art, at Itaú Cultural
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, in the CCBB
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
2002 - São Paulo SP - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2002 - São Paulo SP - CidadeProjecto/CidadeExperiência, at Espaço MAM/Villa-Lobos
2002 - São Paulo SP - From Anthropophagia to Brasília: Brazil 1920-1950, at MAB/FAAP
2002 - São Paulo SP - Wild mirror: modern art in Brazil in the first half of the 20th century, Nerovsky Collection, in the MAM/SP
2002 - São Paulo SP - Image and identity: a look at the history in the collection of the Museum of Fine Arts, at the Banco Santos Cultural Institute
2002 - São Paulo SP - Modernismo: from the week of 22 to the Art Section of Sérgio Milliet, at the CCSP
2003 - Brasília DF - Brazilian art in the Fadel collection: from the restlessness of the modern to the autonomy of language, in the CCBB
2003 - Rio de Janeiro RJ - Brazilian art: from the revolution from 30 to post-war, at MAM/RJ
2003 - Rio de Janeiro RJ - Art in Motion, at Espaço BNDES
2003 - Rio de Janeiro RJ - Autonomy of drawing, at MAM/RJ
2003 - São Paulo SP - The modernist adventure of Berta Singerman: an Argentine voice in Brazil, at the Lasar Segall Museum
2003 - São Paulo SP - The engraving goes well, thank you: the Brazilian historical and contemporary engraving, at Espaço Virgílio
2003 - São Paulo SP - Art and Society: a controversial relationship, at Itaú Cultural
2004 - Belo Horizonte MG - Pampulha, work collected: 1943-2003, at MAP
2004 - São Paulo SP - Paper Office, CCSP
Source: Itaú Cultural
