Oswaldo Goeldi (Rio de Janeiro RJ 1895 - idem 1961)
Oswaldo Goeldi was a printmaker, draftsman, illustrator and teacher. The son of the Swiss scientist Emílio Augusto Goeldi, he moved with his family as a baby to Belém, in Pará, where he lived until 1905, when he moved to Bern, Switzerland. At 20, he enrolled in the engineering course at the Polytechnic School in Zurich, but did not complete it. In 1917, he enrolled at the École des Arts et Métiers in Geneva, leaving the course because he found it excessively academic. From then on, he took classes in the studio of the artists Serge Pahnke and Henri van Muyden. Also in 1917, he held his first solo exhibition at Galeria Wyss, in Bern, on which occasion he came into contact with the work of Alfred Kubin, who became his main artistic influence and with whom he corresponded for many years.
In 1919, he settled in Rio de Janeiro, working as an illustrator for magazines such as Para Todos, Leitura Para Todos and Ilustração Brasileira. In 1921, he held his first solo exhibition in Brazil, in the lobby of the Liceu de Artes e Ofícios. In 1923, he took up woodcut with the sculptor Ricardo Bampi. During the 1930s, he released the album 10 Gravuras em Madeira de Oswaldo Goeldi, with an introduction by Manuel Bandeira. He also produced drawings and prints for various periodicals and books, such as Cobra Norato, by Raul Bopp, published in 1937, containing his first color woodcuts.
In 1941, he worked on the illustrations for the Complete Works of Fyodor Dostoevsky, published by Editora José Olympio. From 1952 on, he began his career as a teacher at the Escolinha de Arte do Brasil. In 1955, he became a professor at the Escola Nacional de Belas Artes (Enba), in Rio de Janeiro, where he founded a woodcut workshop. In 1995, the Centro Cultural Banco do Brasil marked the centenary of his birth with a retrospective exhibition in Rio de Janeiro.
Critical Commentary
Oswaldo Goeldi is born in Rio de Janeiro. The son of the Swiss scientist Emílio Augusto Goeldi, he moves to Belém, Pará, at the age of 1. In that city, his father founds the Museum of Natural History and Ethnography, today the Museu Emílio Goeldi. He lives in Belém until the age of 6. 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 time in the city is troubled. Europe is living through the beginning of the First World War (1914-1918) and, upon his admission to the Polytechnic, Goeldi is called up for military service, interrupting his studies. In the army, he serves as a border sentry and stays away from combat. About a year later, his interest in drawing grows in the same measure as his desire to continue studying engineering declines.
In 1917, after his father's death, the artist leaves the Polytechnic and moves to Geneva with the intention of studying art. He spends six months at the École des Arts et Métiers [School of Arts and Crafts]. Disappointed, he begins taking classes in the studio of the artists Serge Pahnke (1875 - 1950) and Henri van Muyden (1860 - n.d.). After a short period under the guidance of the two, he abandons his art studies for good. Nevertheless, he works a great deal. His production is shown in a first solo exhibition, that same year, at Galeria Wyss, in Bern. At the exhibition, he discovers the work of Alfred Kubin (1877 - 1959). This contact is decisive for his development. Goeldi is drawn to the imaginative and dark aspect of Kubin's scenes. During this period, his drawings take on morbid themes, set in terrifying settings. At the same time, he befriends the painter Hermann Kümmerly, with whom he makes his first lithographs.
Goeldi returns to Brazil in 1919 and settles in Rio de Janeiro. He adapts to life in Rio with difficulty. He, who felt like "a sentimental European",1 resents the cultural lag and the provincialism of society. Two years later, he exhibits in the lobby of the Liceu de Artes e Ofícios, having worked as an illustrator for the magazine Para Todos since the year he arrived. The exhibition is poorly received by the press and gives him a measure of the Brazilian art world's resistance to the artistic advances of Europe. Despite the negative comments, the exhibition brings him close 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 did not yet enjoy prestige. Their support, however, is not enough. The artist is shaken. He becomes increasingly averse to Rio's cultural world and closer to bohemian life.
In 1922, he falls out with his family. Displeased, his relatives try to send him to Europe. The group of intellectuals who had become close to the artist prevents his departure and makes every effort to ensure that he stays in the country. In 1923, he begins experimenting with woodcut. He approaches the technique through Ricardo Bampi. He says he begins to make prints in order to "impose a discipline on the wanderings to which drawing led him".2 In an interview with the critic and poet Ferreira Gullar (1930 - 2016), he says he felt "the need to give control to these wanderings".3 At that time, Goeldi moves to Niterói, where he can work in isolation. He makes woodcuts, drawings and illustrations and contributes to the periodical O Malho. According to the historian Noemi Silva Ribeiro, at the end of the 1920s Goeldi begins to make his living as an illustrator.4 He contributes to magazines and makes images for the novel Canaã (1928), by Graça Aranha (1868 - 1931), and for the book Mangue (1929), by Benjamim Costallat (1897 - 1961). The images, however, are not published. In 1930, he releases the album 10 Gravuras em Madeira, with a preface by Manuel Bandeira. In his prints the surface is predominantly black. In Abandono (1930), the figures appear cut out of the ink. Goeldi opens just a few lines in the wood, so that light, in his woodcuts, seems to struggle to gain presence amid the black surfaces.
With the sale of the album, he raises money to go to Europe. He exhibits in Bern and Berlin. He meets his friend Kümmerly again and exhibits with him in Muri, Switzerland. He visits Alfred Kubin, with whom he had been corresponding since 1926. Goeldi acknowledges his debt to the Austrian artist, with whom he corresponds throughout his life. During his stay, he makes some drawings and leaves works in collections in Switzerland, Austria and Germany. He returns to Brazil around 1932. That year, he experiments with the use of color in his woodcuts.
In 1937, he illustrates the book Cobra Norato (1931) by Raul Bopp (1898 - 1984), with color works. At this point, the main interpreters of Goeldi's work point out his distancing from his main reference, Alfred Kubin. This does not diminish his admiration for the Austrian. His work gradually takes other directions,5 asserting a language of its own, singular. His images, also visionary, unlike those of the Austrian master, refer however to reality, not to fantastic worlds. The grooves cut into the wood reveal what Carlos Drummond de Andrade (1902 - 1987) calls "the unreality of the real".6 The eeriness that is part of our everyday life.
In the 1940s, his life as an illustrator becomes established. In 1941, he contributes regularly to the newspaper A Manhã. In the same decade, he makes images for the magazine Clima and for books by Dostoevsky (1821 - 1881) and Cassiano Ricardo (1895 - 1974). Recognition becomes more evident from 1950, the year he exhibits at the 25th Venice Biennale. A year later, he wins the printmaking prize at the 1st Bienal Internacional de São Paulo. In this decade, color appears more prominently in his prints. In O Ladrão (ca.1955), the artist shows colored shapes in the gaps of the black mass that dominates the scene. In 1956, his first retrospective is held at the Museu de Arte Moderna de São Paulo - MAM/SP. By then, Goeldi is already a renowned artist. Besides working regularly on his prints, in 1952 he begins his teaching career at the Escolinha de Arte do Brasil. Three years later, he teaches woodcut at the Escola Nacional de Belas Artes - Enba. Among others, the artists Antonio Dias (1944 - 2018), Gilvan Samico (1928 - 2013) and Anna Letycia (1929 - 2018) study with him. On Ash Wednesday, 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.) e LAKS, Sérgio (org.). Oswaldo Goeldi: um auto-retrato. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p.12.
2 NAVES, Rodrigo. Goeldi. São Paulo: Cosac & Naify, 1999. (Espaço da arte brasileira). p.21. Quoted from the book ZILIO, Carlos (org.). Oswaldo Goeldi. Rio de Janeiro: Solar Grandjean de Montigny, s/d. p.108
3 Idem, ibidem.
4 RIBEIRO, Noemi Silva (org.) e LAKS, Sérgio (org.). Oswaldo Goeldi: um auto-retrato. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p.12.
5 NAVES, Rodrigo. Goeldi. São Paulo: Cosac & Naify, 1999. (Espaço da arte brasileira). p.20.
6 DRUMMOND DE ANDRADE, Carlos. A Goeldi. In: ______. Carlos Drummond de Andrade: poesia e prosa. 6.ed. Rio de Janeiro: Editora Nova Aguilar, 1988.
Critiques
"Abandonment and oblivion form the axis of Goeldi's work: overturned cans, stray dogs, furniture left out in the open. However, precisely because they are not remembered, things here seem still preserved from pettiness, full of mystery and power. What has been set aside is whole, ready to be set in motion, and the wind that breathes over these prints wants to awaken people, animals and places, calling them to life. His affection, however, cannot have the solidity and objective clarity of those who forgot them. Hence the continuous and ever-renewed twilight of these works.
(...) However, enchantment and suspension also characterize these prints and drawings. This comes, I believe, from the intense formal analogy between their elements. Solids are voids, houses are streets, vultures are umbrellas, the windows look at us. Everything somewhat resembles everything else, breathed upon by the same breath of life, the forms echoing discreetly in one another, as if not yet fully formed. This incomplete individuation accounts for much of Goeldi's originality, and allows the expressionist distortions that influenced him to give up their despair. Goeldi's world is a world in suspension; its inhabitants are still waking up and seeking one another, and if they walk toward death, they do so together. Hence the calm of his sadness, in which abandonment and communion coexist".
Nuno Ramos
RAMOS, Nuno. Para Goeldi. São Paulo: AS Studio,1996. p. 17-18.
"The European experience did not allow him to complete the Brazilian experience. Perhaps it even disturbed it. Both, however, entered into the composition of his art, giving it a human and poignant universality.
His gaze upon things is charged with such intense subjective force that it soon turns them into vision. A vision that is almost always tragic. The most ordinary everyday image - a street corner, an object, someone walking by - Goeldi turns into a mysterious presence. What he discovers in each thing is its substance of poetry, veiled by the automatism of our habitual perception. Lacking paints for the pictorial expression of his creations, he has to work only with lines, the values of chiaroscuro, the vibrations of the stroke and the rhythm of forms. Only exceptionally does he use color in his prints, as in Pescador and in the illustrations for Cobra Norato, a poem by Raul Bopp.
Opening light within the masses of shadow and guiding the atmospheric currents of the sky, thanks to thousands of tiny strokes and converging lines that suggest the directions of wind and light, he graphically achieves a power to evoke forms and environments that he could not achieve with painting. The sensuality and musicality of color would not suit his tense temperament. On the other hand, what he achieves with chiaroscuro and line allows him to capture certain aspects that cannot be rendered by other visual means.
The main content of visible things lies in the invisible world of which they are at once the sign and the incomplete projection. It lies behind. At least for an artist like Goeldi, accustomed to deciphering the illegible in the depths that appearances cover. For him, abstract art has no reason to exist; it is necessary to create new forms; it is enough to raise 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 only under the incidence of this or that poetic light that things radiate better and acquire the value of symbols; it is also through the company they are given, through the way they are arranged in the work of art. One might say that forms seek to meet those that live apart from them. The famous 'chance encounter on a dissecting table of a sewing machine and an umbrella' (Lautréamont) is reproduced endlessly in nature among object-characters, arranged in capricious formation".
Aníbal Machado
MACHADO, Aníbal. Goeldi. In: MATRIZES do expressionismo no Brasil: Abramo, Goeldi e Segall. São Paulo: MAM, 2000.
Testimonials
"The infinite horizons that opened up for me as I contemplated the abundance of your [Kubin's] works - in 1930, on my all-too-short little visit to Wernstein - and the kind words you addressed to me oblige me to be eternally grateful to you. What seemed new to me at the time in your works was their moving quality - the emotion they convey, unlike other creations that please us more for their scope. I don't know whether I have made myself understood. It was an extremely powerful experience for me. Some of Munch's works, and above all Van Gogh's drawings, speak to me intimately. In Van Gogh's works one feels the nerve exposed, aching, but I like them very much. Yet no one has, as you do, this breadth, this richness; no one has expressed their innermost self so strongly - and I say this without blind enthusiasm".
Oswaldo Goeldi - Rio, May 8, 1933
GOELDI, Oswaldo. Correspondência a Alfred Kubin (Rio, 8/05/1933). In: RIBEIRO, Noemi Silva (Org.). Oswaldo Goeldi: um auto-retrato. Rio de Janeiro: Centro Cultural Banco do Brasil, 1995. p. 170.
"There is a lot of talk today about innovation, about opening paths, etc... But technical experiments should not be confused with true innovation. Every truly creative artist innovates, and does so because he expands his technical means in proportion to his expressive needs. Only that innovation is legitimate - innovation dictated by an inner necessity. Innovating for the sake of innovating makes no sense. I know of artists who spent their whole lives innovating and could do no more than "innovations"... In fact, many innovations in metal date from 1950. On the other hand, there are examples of printmakers, such as Jacques Villon, who, starting from traditional technique, made the transition to a greater synthesis of forms without abandoning the true meaning of printmaking. In Villon's career there was always a wise balance between technique and an ever deeper creation. Villon is a true classic of modern printmaking. Another who can be placed beside him is Lyonel Feininger, with his woodcuts and etchings. But put a print by Friedlander next to one by Villon: Friedlander's disappears. In short, since artifices and tricks replaced printmaking, there is no longer any point in saying whether a print 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 with Ferreira Gullar for Jornal do Brasil, January 12, 1957]
Collections
Banco do Estado do Rio de Janeiro - BANERJ
Fundação Biblioteca Nacional
Museu de Arte Moderna do Rio de Janeiro - MAM
Museu Nacional de Belas Artes - MNBA
Museus Castro Maya/IPHAN
Upper Austrian State Museum - Landesmuseum, Linz
Solo Exhibitions
1917 - Berna (Switzerland) - Solo, at Galeria Wyss
1921 - Rio de Janeiro RJ - Solo, at Liceu de Artes e Ofícios
1930 - Berna (Switzerland) - Solo, at Galeria Gutekunst & Klipstein
1938 - Belém PA - Solo, at Biblioteca do Arquivo Público
1951 - São Paulo SP - Solo, at Galeria Domus
1952 - Paris (France) - Solo, at Association Artistique et Litteraire
1952 - Rio de Janeiro RJ - Solo, at Galeria Langenbach & Tenreiro
1952 - Santiago (Chile) - Solo, at Museo de Arte Moderno
1954 - Salvador BA - Solo, at Galeria Oxumaré
1956 - São Paulo SP - Solo, at MAM/SP
1956 - Rio de Janeiro RJ - Goeldi: Retrospective, at MAM/RJ
1958 - Rio de Janeiro RJ - Solo, at Galeria G. E. A.
1959 - São Paulo SP - Solo, at Galeria Langenbach & Tenreiro
1959 - São Paulo SP - Solo, at Piccola Galeria - Instituto Italiano de Cultura
Posthumous Exhibitions
1961 - Rio de Janeiro RJ - 1st The Face and the Work, at Galeria Ibeu Copacabana
1961 - São Paulo SP - 6th Bienal Internacional de São Paulo, at MAM/SP
1962 - Buenos Aires (Argentina) - Solo, at Museo Nacional de Bellas Artes
1962 - São Paulo SP - Marcelo Grassmann, Eduardo Sued, Oswaldo Goeldi and Darel, at Galeria Residência
1964 - São Paulo SP - Goeldi: Nelson Mendes Caldeira Collection, at MAB/Faap
1966 - Ribeirão Preto SP - 40 Brazilian and Foreign Prints from the MAC Collection, at Escola de Artes Plásticas de Ribeirão Preto
1966 - Rio de Janeiro RJ - Self-Portraits, at Galeria Ibeu Copacabana
1966 - Salvador BA - 1st National Biennial of Visual Arts
1966 - São Paulo SP - 40 Brazilian and Foreign Prints from the MAC Collection, at MAC/USP
1966 - São Paulo SP - Prints and Drawings by Goeldi, at MAB/Faap
1968 - Piracicaba SP - 40 Brazilian and Foreign Prints from the MAC Collection, at Esalq/USP
1969 - São Paulo SP - 10th Bienal Internacional de São Paulo, at Fundação Bienal
1970 - Olinda PE - 40 Brazilian and Foreign Prints from the MAC Collection, at Museu de Arte Contemporânea de Pernambuco
1970 - Penápolis SP - 40 Brazilian and Foreign Prints from the MAC Collection
1971 - São Paulo SP - 11th Bienal Internacional de São Paulo, at Fundação Bienal
1972 - São Paulo SP - The Week of '22: Background and Consequences, at Masp
1972 - São Paulo SP - Drawings and Prints by Goeldi: Nelson Mendes Caldeira Collection, at MAB/Faap
1974 - Rio de Janeiro RJ - Goeldi-Grassmann-Messias, at Bolsa de Arte do Rio de Janeiro
1974 - Rio de Janeiro RJ - The Sea, at Galeria Ibeu Copacabana
1975 - São Paulo SP - Modernism from 1917 to 1930, at Museu Lasar Segall
1976 - São Paulo SP - The Salons: Família Artística Paulista, Salão de Maio and Sindicato dos Artistas Plásticos de São Paulo, at Museu Lasar Segall
1978 - Rio de Janeiro RJ - 1st National Salon of Visual Arts - Three Masters of Brazilian Printmaking, at MNBA
1979 - São Paulo SP - 15th Bienal Internacional de São Paulo, at Fundação Bienal
1980 - Rio de Janeiro RJ - Tribute to Mário Pedrosa, at Galeria Jean Boghici
1982 - Lisbon (Portugal) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1982 - London (United Kingdom) - Brazil 60 Years of Modern Art: Gilberto Chateaubriand Collection, at Barbican Art Gallery
1982 - São Paulo SP - From Modernism to the Bienal, at MAM/SP
1982 - São Paulo SP - Six Expressionist Printmakers of Brazil: Segall, Goeldi, Abramo, Renina, Poty, Grassmann, at Museu Lasar Segall
1983 - Olinda PE - 2nd Exhibition of the Abelardo Rodrigues Visual Arts Collection, at MAC/PE
1983 - São Paulo SP - Oswaldo Goeldi, at Grifo Galeria de Arte
1984 - Curitiba PR - 6th Woodcut in the History of Brazilian Art, at Casa Romário Martins
1984 - Curitiba PR - 6th Curitiba City Printmaking Show, at Fundação Cultural
1984 - Porto Alegre RS - Prints: A Trajectory in Time, at Cambona Centro de Arte
1984 - Ribeirão Preto SP - Brazilian Printmakers of the 1950s/60s, at Galeria Campus - USP - Banespa
1984 - Rio de Janeiro RJ - Woodcut in the History of Brazilian Art, at Funarte. Galeria Sérgio Milliet
1984 - São Paulo SP - Gilberto Chateaubriand Collection: Portrait and Self-Portrait of Brazilian Art, at MAM/SP
1984 - São Paulo SP - Tradition and Rupture: A Synthesis of Brazilian Art and Culture, at Fundação Bienal
1985 - Porto Alegre RS - Iberê Camargo: Trajectories and Encounters, at Margs
1985 - Rio de Janeiro RJ - 8th National Salon of Visual Arts, at MAM/RJ
1985 - São Paulo SP - 18th Bienal Internacional de São Paulo, at Fundação Bienal
1986 - Brasília DF - Iberê Camargo: Trajectories and Encounters, at Teatro Nacional
1986 - Curitiba PR - 7th Collection of the Museu Nacional da Gravura - Casa da Gravura, at Museu Guido Viaro
1986 - Porto Alegre RS - Paths of Brazilian Drawing, at Margs
1986 - Rio de Janeiro RJ - Iberê Camargo: Trajectories and Encounters, at MAM/RJ
1986 - São Paulo SP - Iberê Camargo: Trajectories and Encounters, at Masp
1987 - Paris (France) - Modernidade: Brazilian Art of the 20th Century, at Musée d'Art Moderne de la Ville de Paris
1987 - Rio de Janeiro RJ - To the Collector: Tribute to Gilberto Chateaubriand, at MAM/RJ
1987 - São Paulo SP - 18th Panorama of Current Brazilian Art: Art on Paper, at MAM/SP
1987 - São Paulo SP - 19th Bienal Internacional de São Paulo - Imaginários Singulares, at Fundação Bienal
1987 - São Paulo SP - The Biennials in the MAC Collection: 1951 to 1985, at MAC/USP
1987 - São Paulo SP - Modernidade: Brazilian Art of the 20th Century, at MAM/SP
1988 - Curitiba PR - 8th Curitiba City Printmaking Show, at Fundação Cultural
1988 - Lisbon (Portugal) - Pioneers and Disciples, at Fundação Calouste Gulbenkian. Centro Cultural Calouste Gulbenkian
1988 - São Paulo SP - Brasiliana: Man and the Land, at Pinacoteca do Estado
1988 - São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, at MAC/USP
1988 - São Paulo SP - Modernidade: Brazilian Art of the 20th Century, at MAM/SP
1989 - Rio de Janeiro RJ - Brazilian Printmaking: 4 Themes, at EAV/Parque Lage
1990 - São Paulo SP - The Art Collection of the City of São Paulo, at Masp
1991 - Curitiba PR - Museu Municipal de Arte: Collection, at Museu Municipal de Arte
1991 - São Paulo SP - The Forest, at MAC/USP
1991 - São Paulo SP - Man and Nature, at MAC/USP
1992 - Curitiba PR - 10th Curitiba City Printmaking Show/Mostra América, at Museu da Gravura
1992 - Rio de Janeiro RJ - Art Printmaking in Brazil: A 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 - Woodcut: From Cordel to the Gallery, at Funesc
1993 - Poços de Caldas MG - Mário de Andrade Collection: Modernism in 50 Works on Paper, at Casa de Cultura de Poços de Caldas
1993 - Rio de Janeiro RJ - Brazil 100 Years of Modern Art, at MNBA
1993 - São Paulo SP - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at Galeria de Arte do Sesi
1994 - Poços de Caldas MG - Unibanco Collection: Exhibition Celebrating Unibanco's 70 Years, at Casa de Cultura de Poços de Caldas
1994 - Rio de Janeiro RJ - Modern Drawing in Brazil: Gilberto Chateaubriand Collection, at MAM/RJ
1994 - Rio de Janeiro RJ - Trenches: Art and Politics in Brazil, at MAM/RJ
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - Poetics of Resistance: Aspects of Brazilian Printmaking, at Galeria de Arte do Sesi
1994 - São Paulo SP - Woodcut: From Cordel to the Gallery, at Metrô stations and at Masp
1995 - Belo Horizonte MG - Derived Image: A Look at the Unfolding of Printmaking Today, at MAP
1995 - Londrina PR - Brazilian Art: Confrontations and Contrasts, at Pavilhão Internacional Octávio Cesário Pereira Júnior
1995 - Rio de Janeiro RJ - Unibanco Collection: Exhibition Celebrating Unibanco's 70 Years, 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: His Time, at IEB/USP
1996 - São Paulo SP - Ex Libris/Home Page, at Paço das Artes
1996 - São Paulo SP - Figure and Landscape in the MAM Collection: Tribute to Volpi, at MAM/SP
1996 - São Paulo SP - Oswaldo Goeldi, Visionary Master, at Galeria de Arte do Sesi
1997 - Barra Mansa RJ - The Museum Visits the Gallery, at Centro Universitário de Barra Mansa
1998 - São Paulo SP - 24th Bienal Internacional de São Paulo, at Fundação Bienal
1998 - São Paulo SP - Impressions: The Art of Brazilian Printmaking, at Espaço Cultural Banespa
1998 - São Paulo SP - The Collector, at MAM/SP
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at Masp
1998 - São Paulo SP - The Collectors - Guita and José Mindlin: Matrices and Prints, at Galeria de Arte do Sesi
1999 - Niterói RJ - Mostra Rio Gravura. Banerj Collection, at Museu do Ingá
1999 - Rio de Janeiro RJ - Goeldi: Prints, Matrices and Drawings, at Casa França-Brasil
1999 - Rio de Janeiro RJ - Brazilian Modern Printmaking: Museu Nacional de Belas Artes Collection, at MNBA
1999 - Rio de Janeiro RJ - Brazilian Literature and Printmaking, at ABL
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Brazilian Modern Printmaking: MNBA Collection, at MNBA
1999 - Rio de Janeiro RJ - Mostra Rio Gravura. Brazilian Literature and Printmaking, at Academia Brasileira de Letras
1999 - Rio de Janeiro RJ - Mostra Rio Gravura: Oswaldo Goeldi, at Espaço Cultural dos Correios
1999 - São Paulo SP - Everyday Life/Art. Consumption, at Itaú Cultural
1999 - São Paulo SP - Oswaldo Goeldi, at Galeria Thomas Cohn
2000 - Brasília DF - Brazil Europe Exhibition: Encounters in the 20th Century, at Conjunto Cultural da Caixa
2000 - Curitiba PR - 12th Curitiba Printmaking Show. Marks of the Body, Folds of the Soul
2000 - Lisbon (Portugal) - 20th Century: Art of Brazil, at Centro de Arte Moderna José de Azeredo Perdigão
2000 - Porto Alegre RS - Biblioteca Nacional: Rare Works, at Museu de Arte do Rio Grande do Sul
2000 - Rio de Janeiro RJ - Matrices of Expressionism in Brazil: Abramo, Goeldi and Segall, at Paço Imperial
2000 - Rio de Janeiro RJ - When Brazil Was Modern: Visual Arts in Rio de Janeiro from 1905 to 1960, at Paço Imperial
2000 - São Paulo SP - Brasil + 500 Mostra do Redescobrimento. Modern Art, at Fundação Bienal
2000 - São Paulo SP - Investigations. Brazilian Printmaking, at Itaú Cultural
2000 - São Paulo SP - Matrices of Expressionism in Brazil: Abramo, Goeldi and Segall, at MAM/SP
2000 - São Paulo SP - The Role of Art, at Galeria de Arte do Sesi
2000 - Valencia (Spain) - De la Antropofagia a Brasília: Brasil 1920-1950, at IVAM. Centre Julio González
2001 - Brasília DF - Investigations. Brazilian Printmaking, at Itaugaleria
2001 - Penápolis SP - Investigations. Brazilian Printmaking, at Itaugaleria
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2001 - São Paulo SP - Museu de Arte Brasileira: 40 Years, at MAB/Faap
2001 - São Paulo SP - The 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, at CCBB
2002 - Rio de Janeiro RJ - Paths of the Contemporary 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, at CCBB
2002 - São Paulo SP - Cidadeprojeto/cidadeexperiência, at Espaço MAM/Villa-Lobos
2002 - São Paulo SP - From Anthropophagy 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, Nemirovsky Collection, at MAM/SP
2002 - São Paulo SP - Image and Identity: A Look at History in the Collection of the Museu de Belas Artes, at Instituto Cultural Banco Santos
2002 - São Paulo SP - Modernism: From the Week of '22 to Sérgio Milliet's Art Section, at CCSP
2003 - Brasília DF - Brazilian Art in the Fadel Collection: From the Restlessness of the Modern to the Autonomy of Language, at CCBB
2003 - Rio de Janeiro RJ - Brazilian Art: From the 1930 Revolution to the Postwar Period, 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 Museu Lasar Segall
2003 - São Paulo SP - Printmaking Is Doing Fine, Thank You: Historical and Contemporary Brazilian Printmaking, at Espaço Virgílio
2003 - São Paulo SP - Art and Society: A Controversial Relationship, at Itaú Cultural
2004 - Belo Horizonte MG - Pampulha, Collected Work: 1943-2003, at MAP
2004 - São Paulo SP - Paper Cabinet, at CCSP
Source: Itaú Cultural
