Yolanda Mohalyi (Cluj Napoca, Romênia 1909 - São Paulo SP 1978)
Yolanda Mohalyi was a painter and draftswoman. She studied painting at the Nagybánya Free School, in Hungary, and in 1927 entered the Royal Academy of Fine Arts in Budapest. In 1931 she moved to Brazil and settled in São Paulo, where she began teaching drawing and painting. Her students included Maria Bonomi (1935) and Giselda Leirner (1928), among others. From 1935 she began to frequent the studio of Lasar Segall (1891 - 1957), with whom she identified artistically. Around 1937 she joined Grupo 7, alongside Victor Brecheret (1894 - 1955), Antonio Gomide (1895 - 1967) and Elisabeth Nobiling (1902 - 1975), among others. Her first solo exhibition took place in 1945 at the Instituto de Arquitetos do Brasil - IAB/SP. In 1951 she made her first woodcuts with Hansen Bahia (1915 - 1978).
In 1958 she received the Leirner Prize for Contemporary Art. Between the 1950s and 1960s she produced stained-glass windows for the Fundação Armando Álvares Penteado (FAAP) and murals for the Cristo Operário and São Domingos churches, as well as mosaics for private homes. Later she also made stained-glass windows for the Chapel of São Francisco in Itatiaia. Between 1960 and 1962 she taught in FAAP's drawing and visual arts course. That same year she represented Brazil at the 1st Bienal Americana de Arte in Argentina, and some of her works were selected by the critic Sir Herbert Read for a traveling exhibition in the United States. In 1963 she received the award for best national painter at the 7th Bienal Internacional de São Paulo.
Critical Commentary
Born in Cluj Napoca, in present-day Romania, Yolanda Mohalyi studied drawing and painting at the Academy of Fine Arts in Budapest. She was trained in an artistic environment linked predominantly to German Expressionism, though of a more poetic strand. The painting Moça ao Ar Livre [Young Woman Outdoors] (1930) is an example of this Expressionist tendency and stands out for its heavy paint and its melancholic, dramatic character. The artist came to Brazil in 1931 and settled in São Paulo. Her early works take the human figure as their main theme and reveal a concern with social injustice, as in the painting Desemprego [Unemployment] (1931), executed in somber tones.
In Brazil the painter joined Grupo 7, with Victor Brecheret (1894 - 1955), Elisabeth Nobiling (1902 - 1975), Antonio Gomide (1895 - 1967), Rino Levi (1901 - 1965), John Graz (1891 - 1980) and Regina Graz (1897 - 1973). Yolanda showed great admiration for the work of the painter Lasar Segall (1891 - 1957), with whom she became friends. Her affinity with Segall's poetics shows in formal aspects and also in the choice of themes: an emphasis on the human figure, urban landscapes or fields with animals and, above all, a concern with portraying humble or underprivileged people, as in the painting Século XX [20th Century] (ca. 1938). Her palette is close to Segall's, with dense, highly elaborated color in which ochre tones predominate. Yolanda Mohalyi, however, uses nuances that are more luminous and transparent than Segall's. She often uses yellow, though in subdued tones. In oil painting she seeks the effects of transparency characteristic of watercolor, a technique she uses frequently and in which she shows great mastery. She uses watercolor in various self-portraits, still lifes and also in some Brazilian landscapes rendered in a poetic atmosphere, as in Ubatuba, Campos do Jordão or Arredores de Jacareí [Outskirts of Jacareí] (all undated). In the watercolor Menino com Abacaxi [Boy with Pineapple] (1940) she uses the formal simplification of Cubism, with a very personal handling and a luminous chromatic range.
From the second half of the 1950s, her work shows a gradual move toward abstraction through the simplification and geometrization of background forms in paintings such as Solidão [Solitude] (1955). Her abstract canvases of the 1950s feature patches of color approaching rectangular shapes, painted very close to one another or overlapping, which fill almost the entire surface of the canvas. The tones are generally dark and saturated. The artist often explores dense textures, using heavy-bodied paints to which she adds sand and other rough materials, as in Composição à Margem do Rio [Composition by the River] (1959) or Pesquisa [Research] (n.d.).
From the late 1950s, Yolanda Mohalyi became one of the most representative painters of Informalism in the country. She took part in several national and international exhibitions and in almost every Bienal Internacional de São Paulo between 1951 and 1967. Chosen best national painter at the 1963 Bienal, she had a special room at the following Bienal. In that 1965 exhibition she showed canvases in which patches of color condense and emerge as large forms, over which linear elements appear, worked with broad gestures. In her paintings the artist resumes the search for effects of transparency.
In her works the forms gradually expand and occupy ever broader spaces, as in A Grande Viagem [The Great Journey] (1969) or Formas em Evolução [Evolving Forms] (n.d.). In the 1970s the painter worked with translucent images and explored musical harmonies, as in Voo Espacial [Space Flight] (1971) or Outono 72 [Autumn 72] (1972). Her paintings feature floating colors used in singular luminous expressions. The canvas Meteoro [Meteor] (1971), representative of the last style she adopted, suggests a cosmic harmony, explored through the elaboration of a vast space built up in subtle tonal transitions.
Critiques
"Yolanda Mohalyi stands out in the visual arts as one of the most important artist-painters we have had in the last 50 years. (...) Yolanda Lederer Mohalyi arrived in Brazil in 1931 (...). At that time she was producing painting with decidedly coloristic elements, coming from a Post-Impressionist treatment and reaching an expressiveness we may call Expressionist force. Her figures and landscapes of the period presented motifs with a strong formal concentration, both in their compact forms and in their heavy, dense colors, revealing her penetrating spirit in subjects among which humble people, children and the landscapes we have already mentioned, with dark forests and old houses, stand out. (...) Little by little she felt that she also needed to give a more constructive character to the composition of these images. (...) Thus a well-defined phase arose in her work, which bounds colored planes in scenes depicted with strong contours, many of them black, which consequently led to a more abstract, more graphic mode. (...) Since she had always intensified her images through the modulation and beauty of color, shortly afterward she moved on to a much stronger non-figurative painting. At first these were true slabs of color that she applied to the canvases. Little by little this painting developed with more transparency and luminosity, toward the style of painting for which she became best known and most appreciated".
Wolfgang Pfeiffer
PFEIFFER, Wolfgang. Yolanda Mohalyi: uma síntese histórico-crítica. In: MOHALYI, Yolanda. Yolanda Mohalyi. São Paulo: Dan Galeria, 1982. p. 3-4.
"Her painting was imbued with human and social themes in the 1930s and 1940s, expressed through a palette of refined transparent tones. Later she would take up an informal abstract painting in which these chromatic values persisted and intensified. (...) From 1957, Yolanda Mohalyi became one of the most representative figures of this tendency (abstract expressionism). Abandoning figuration, always driven, in the first half of the 1950s, by an abstraction that was initially geometrically ordered, she moved toward the space occupied by freer forms. Through these, the painter developed compositions of great fluency, renewing her base colors - those that had identified her two decades earlier - and enriching her palette without losing any of the emotional control that characterizes her".
Walter Zanini
ZANINI, Walter. Novos nomes. In: _______. História geral da arte no Brasil - I. São Paulo: Fundação Djalma Guimarães: Instituto Walther Moreira Salles, 1983. p. 618, 619, 697.
"For Yolanda Mohalyi, art has a specific purpose. Colors, systems of representation and method are instruments serving her desire to organize and express a conception of life and of the human being. Her vision is charged with affection. It is the constant that accompanies her work, apart from theses and subjects. The inner belief and the stance toward human existence itself. It can be said that the main stimulus, the driving force of her activity, is the inner combustion that, at a certain moment, needs art in order to take concrete form. The inner constant and the expression - the artistic object - are the consequence of an initial destiny.
(...)
Yolanda Mohalyi, like many artists of her generation, stood humbly before art. (...) An artist who places herself at the service of creation and not as a beneficiary and mere producer of pleasant or fashionable images. (...) There is no cult of her own ego, no exaltation of the artist's personality. There is the rigorous and constant work of someone placed at the service of the human being who uses art as her vehicle.
But being at the service of the human being does not presuppose a sterile or mechanical commitment. Yolanda Mohalyi's art followed no political or sociological doctrine. She was an artist. Her only guide was her sensitivity and intuition. Her loyalty was always to the human being, but her master guide, the sensor of her action, was intuition. (...) The only possible reality for the artist is her action. Yolanda Mohalyi's work reflects this initial condition. She devoted herself entirely to her action and, along the way, as happens with the creators of a language, she drew close to artists and images".
Jacob Klintowitz
KLINTOWITZ, Jacob. Yolanda Mohalyi. In: MOHALYI, Yolanda. Yolanda Mohalyi. São Paulo: Dan Galeria, 1984. p. 2-3.
"(...) For Yolanda, artistic creation was not a mere craft, a simple profession. It was her reason for living, the link between the human dimension and spiritual transcendence. In a way, then, art took on a ritual function for her religiosity.
(...)
Relentless in her quest to extend her limits, she was not content to remain in one style or technique, even when she mastered it with ease. She studied continuously, renewing herself in each painting through research and experimentation with new structures and color combinations.
The assessment of her work, therefore, should not dwell on the analysis of separate phases. Everything she produced forms a whole, a homogeneous body. The steps she took, from the figurative to the abstract, follow a natural, conscious order. Each period presupposes the one that precedes it. The changes do not happen by chance but, on the contrary, respond to an inner impulse of the artist. Or rather, to her intuition.
Figurative at first, she uses her already refined technique to capture reality, revealing, on the one hand, her sensitivity to Brazilian social themes and, on the other, her fascination with the tropical, rural and coastal landscape. As her Expressionist tendency grows stronger, modeled on Segall but keeping her personal style in the watercolors of still lifes and landscapes, the figure becomes the vital concern: the child, the young, the old, the workers, the maimed in the war paintings.
Progressively freeing herself from Segall's influence and assimilating the new proposals of international art through travel and the Bienals, she goes through a transitional phase. The crisis that erupts within her leads to a transformation. She is no longer satisfied with portraying reality expressionistically. More concerned with the construction of forms, her compositions become geometric under the inspiration of Braque and Picasso. Relinquishing the color she handled with complete ease, she creates magnificent works of an excellent nascent technique. The figure, simplified by Cubism and slightly abstracted, stands out against an already clearly abstract background.
(...)
Abstract, resorting to the figure only as a daily work exercise, at first she explores the grouping of forms, which appear closed and compacted, accompanied by generally dark colors, at times modulated, at times saturated. It seems the artist was not yet able to loosen all her inner ties, possibly because of her hesitation between geometric and lyrical abstraction.
Gradually, however, after experiments with relief and texture, her commitment to lyrical abstraction solidifies and the painter begins to take ever bolder leaps, reaching, at the height of her career, the fullness of expression.
(...)
Despite her exceptional mastery in the structuring of forms, Yolanda's most distinctive legacy to the visual arts was her highly original chromatic expression.
From her first works of the 1930s, her paintings stand out for the coloristic treatment she gives her compositions. Colors are used to build the volumes of human figures, still lifes and landscapes.
In the period when she was close to Segall, moreover, what distinguishes her from the painter - to the point of arousing his admiration - lies precisely in the effects of luminosity and transparency present in the watercolors produced in this Expressionist phase.
(...)
However, while in her figurative work, until the end of the 1940s, Segall's influence is evident (...) and, in the transition, the Cubist inspiration, in her abstract work her art is unique, unmistakable".
Lucia Helena Bortolo de Rezende
REZENDE, Lúcia Helena Bortolo. Do figurativo ao abstracionismo lírico: descrição e análise da obra da pintora Yolanda Mohalyi. In: MOHALYI, Yolanda. Yolanda Mohalyi. São Paulo: MAC/USP, 1988. p. 11-13.
Testimonials
"They say abstraction is outdated, but in fact its field is limitless. Abstraction, as a word, does not cover what we do; it does not express the painter's process. Many people ask me whether I will stop doing abstraction. I say that when I have had enough, I will look for another form of expression. But I think I am very connected to the discovery of the universe, and this is reflected in the painting: my abstractions always give an almost cosmic vision.
I feel that the landscape, the systems, can exist in the cosmos; even if they are not seen, they are part of our reality. The same law that governs the cosmos governs the painting.
This is our creative attitude".
Yolanda Mohalyi
MOHALYI, Yolanda. Yolanda Mohalyi. São Paulo: MAC/USP, 1988. p. 18.
"Regarding influences on personal style, I can add that style is the result of the artist's individualization; it depends on the artist's ability, as an individual - without being anti-collective, living reality, forming concepts - to decide his or her course and forge his or her identity without giving in to massification".
Yolanda Mohalyi
MOHALYI, Yolanda. Yolanda Mohalyi. São Paulo: MAC/USP, 1988. p. 16.
Collections
Acervo Banco Itaú S.A. - São Paulo SP
Acervo da Pinacoteca do Estado de São Paulo/Brasil - São Paulo SP
Coleção Museu de Arte Contemporânea da Universidade de São Paulo - SP
Coleção Museu de Arte Moderna de São Paulo - SP
Coleção Museu de Arte Moderna do Rio de Janeiro - RJ
Museu de Arte Contemporânea - MAC/PR - Curitiba PR
Museu Nacional de Belas Artes - MNBA - Rio de Janeiro RJ
Solo Exhibitions
1945 - São Paulo SP - First solo exhibition, at IAB/SP
1950 - São Paulo SP - Solo, at Masp
1951 - Salvador BA - Solo, at Galeria Oxumaré
1955 - New York (United States) - Solo, at South American Gallery
1955 - São Paulo SP - Solo, at MAM/SP
1956 - Buenos Aires (Argentina) - Solo, at Galeria Pizarro
1957 - Paris (France) - Solo, at Galerie Colette Allendy
1957 - São Paulo SP - Solo, at Galeria Ambiente
1961 - São Paulo SP - Solo, at Galeria Astreia
1962 - São Paulo SP - Solo, at Galeria São Luís
1962 - Paris (France) - Solo, at Galerie 1900-2000
1964 - Rio de Janeiro RJ - Solo, at Galeria Montmartre-Jorge
1964 - São Paulo SP - Solo, at Galeria Vocacional
1965 - New York (United States) - Solo, at South American Gallery
1965 - Rio de Janeiro RJ - Solo, at MAM/RJ
1968 - Mexico City (Mexico) - Solo, at Galeria Merk-Cup
1969 - São Paulo SP - Solo, at Documenta Galeria de Arte
1970 - Campinas SP - Solo, at Banco Lar Brasileiro
1970 - New York (United States) - Solo, at Iramar Gallery
1970 - Washington D.C. (United States) - Solo, at Dimock Gallery
1971 - São Paulo SP - Solo, at Galeria Cosme Velho
1972 - Belo Horizonte MG - Solo, at Galeria Guignard
1974 - Washington D.C. (United States) - Solo, at Art Gallery of the Brazilian-American Cultural Institute
1975 - New Orleans (United States) - Solo, at Danna Center Art Gallery
1976 - Asunción (Paraguay) - Solo, at Centro de Estudos Brasileiros
1976 - São Paulo SP - Solo, at Galeria Alberto Bonfiglioli
1976 - São Paulo SP - Retrospective, at MAM/SP
Group Exhibitions
ca.1928 - Budapest (Hungary) - Takes part in an exhibition at the Royal Academy of Fine Arts
1934 - São Paulo SP - 1st São Paulo Fine Arts Salon
1934 - São Paulo SP - 1st São Paulo Fine Arts Salon, at Rua 11 de Agosto
1934 - São Paulo SP - Group show, at Galeria Sumaré House
1935 - São Paulo SP - 2nd São Paulo Fine Arts Salon - small gold medal
1935 - São Paulo SP - 3rd São Paulo Fine Arts Salon
1937 - São Paulo SP - 1st Salão de Maio, at Esplanada Hotel de São Paulo
1936 - São Paulo SP - 4th São Paulo Fine Arts Salon - jury exemption and gold medal
1938 - São Paulo SP - 2nd Salão de Maio, at Esplanada Hotel de São Paulo
1939 - São Paulo SP - 3rd Salão de Maio, at Galeria Itá
1949 - Rio de Janeiro RJ - Exhibition of São Paulo Painting
1951 - Rio de Janeiro RJ - Still Life Exhibition, at Serviço de Alimentação e Previdência Social
1951 - São Paulo SP - 1st Bienal Internacional de São Paulo, at Pavilhão do Trianon
1952 - Rio de Janeiro RJ - Exhibition of Brazilian Artists, at MAM/RJ
1952 - São Paulo SP - 2nd São Paulo Salon of Modern Art, at Galeria Prestes Maia - prize Governo of the Estado
1953 - Rio de Janeiro RJ - Group show, at Departamento de Educação - prize SAPS
1953 - Rio de Janeiro RJ - Group show, at Departamento de Educação do Sesi - prize social
1953 - São Paulo SP - 2nd Bienal Internacional de São Paulo, at Pavilhão dos Estados
1953 - Tokyo (Japan) - 2nd Tokyo Biennial
1954 - Salvador BA - Bahia National Salon of Modern Art - acquisition prize
1954 - São Paulo SP - 3rd São Paulo Salon of Modern Art, at Galeria Prestes Maia - acquisition prize
1954 - São Paulo SP - 5 Draftsmen, at MAM/SP
1954 - São Paulo SP - Contemporary Art: Exhibition of the Collection of the Museu de Arte Moderna de São Paulo, at MAM/SP
1955 - Rio de Janeiro RJ - 4th National Salon of Modern Art
1955 - São Paulo SP - 4th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1955 - São Paulo SP - Group show, at Galeria Sumaré House
1957 - Rio de Janeiro RJ - 6th National Salon of Modern Art
1957 - São Paulo SP - 4th Bienal Internacional de São Paulo, at Pavilhão Ciccilo Matarazzo Sobrinho
1958 - Rio de Janeiro RJ - Group show, at MAM/RJ
1958 - São Paulo SP - Group show, at Galeria de Arte das Folhas
1959 - Leverkusen (Germany) - First Group Exhibition of Brazilian Artists in Europe
1959 - Munich (Germany) - First Group Exhibition of Brazilian Artists in Europe, at Kunsthaus
1959 - São Paulo SP - 5th Bienal Internacional de São Paulo, at Pavilhão Ciccilo Matarazzo Sobrinho - prize Governo Federal
1959 - São Paulo SP - Group show, at Galeria de Arte das Folhas
1959 - Tokyo (Japan) - 5th Tokyo Biennial
1959 - Vienna (Austria) - First Group Exhibition of Brazilian Artists in Europe
1960 - Hamburg (Germany) - First Group Exhibition of Brazilian Artists in Europe
1960 - Lisbon (Portugal) - First Group Exhibition of Brazilian Artists in Europe
1960 - Madrid (Spain) - First Group Exhibition of Brazilian Artists in Europe
1960 - Paris (France) - First Group Exhibition of Brazilian Artists in Europe
1960 - Rio de Janeiro RJ - 9th National Salon of Modern Art, at MAM/RJ - jury exemption
1960 - São Paulo SP - Leirner Collection, at Galeria de Arte das Folhas - prize Leirner of painting
1960 - Utrecht (Netherlands) - First Group Exhibition of Brazilian Artists in Europe
1960 - São Paulo SP - Women's Contribution to the Visual Arts in Brazil, at MAM/SP
1961 - Rio de Janeiro RJ - 10th National Salon of Modern Art
1961 - São Paulo SP - 6th Bienal Internacional de São Paulo, at Pavilhão Ciccilo Matarazzo Sobrinho
1961 - São Paulo SP - 10th São Paulo Salon of Modern Art, at Galeria Prestes Maia
1962 - Córdoba (Argentina) - 1st American Art Biennial
1962 - São Paulo SP - Selection of Brazilian Artworks from the Ernesto Wolf Collection, at MAM/SP
1963 - Campinas SP - Contemporary Painting and Sculpture, at Museu Carlos Gomes
1963 - Munich (Germany) - Group show, at Consulado do Brasil
1963 - São Paulo SP - 7th Bienal Internacional de São Paulo, at Fundação Bienal - best national painter award
1963 - Ulm (Germany) - Kunstverein
1964 - Bogotá (Colombia) - 1st South American Biennial
1964 - Rio de Janeiro RJ - 2nd The Face and the Work, at Galeria Ibeu Copacabana
1964 - Rio de Janeiro RJ - Group show, at Galeria L'Atelier
1964 - Rome (Italy) - Group show, at Galeria d'Arte della Casa do Brasil
1965 - Europe - Current Brazilian Painting (exhibition organized by Itamaraty and traveling to several European cities)
1965 - São Paulo SP - 8th Bienal Internacional de São Paulo - special room, at Fundação Bienal
1966 - Berlin (Germany) - Group show, at Consulado do Brasil
1966 - Rio de Janeiro RJ - Self-Portraits, at Galeria Ibeu Copacabana
1966 - Rio de Janeiro RJ - Salon for the 4th Centenary of Rio de Janeiro, at MAM/RJ
1966 - Salvador BA - 1st National Visual Arts Biennial
1966 - São Paulo SP - Three Premises, at MAB/Faap
1967 - São Paulo SP - 9th Bienal Internacional de São Paulo, at Fundação Bienal
1969 - São Paulo SP - 1st Panorama of Current Brazilian Art, at MAM/SP
1970 - São Paulo SP - 2nd Panorama of Current Brazilian Art, at MAM/SP
1971 - Curitiba PR - 28th Paraná Salon, at Biblioteca Pública do Paraná - award winner
1971 - São Paulo SP - 11th Bienal Internacional de São Paulo, at Fundação Bienal
1973 - Belo Horizonte MG - 5th National Contemporary Art Salon, at Museu de Arte da Pampulha - prize Prefeitura of Belo Horizonte
1973 - São Paulo SP - 5th Panorama of Current Brazilian Art, at MAM/SP
1975 - São Paulo SP - 13th Bienal Internacional de São Paulo, at Fundação Bienal
1976 - São Paulo SP - 8th Panorama of Current Brazilian Art, at MAM/SP
1976 - São Paulo SP - Immigrants in the Visual Arts of São Paulo, at Masp
1976 - São Paulo SP - The Salons: Família Artística Paulista, Salão de Maio and the São Paulo Visual Artists' Union, at Museu Lasar Segall
1977 - São Paulo SP - 14th Bienal Internacional de São Paulo, at Fundação Bienal
1978 - São Paulo SP - The Biennials and Abstraction: The 1950s, at Museu Lasar Segall
Posthumous Exhibitions
1979 - São Paulo SP - 15th Bienal Internacional de São Paulo, at Fundação Bienal
1979 - São Paulo SP - Solo, at MAC/USP
1980 - São Paulo SP - Masters of Lyrical Abstraction in Brazil, at Galeria Eugenie Villien
1982 - São Paulo SP - From Modernism to the Bienal, at MAM/SP
1982 - São Paulo SP - Yolanda Mohalyi: Retrospective, at Dan Galeria
1984 - São Paulo SP - Solo, at Dan Galeria
1985 - Rio de Janeiro RJ - Six Decades of Modern Art: Roberto Marinho Collection, at Paço Imperial
1985 - São Paulo SP - 100 Itaú Works, at Masp
1985 - São Paulo SP - 18th Bienal Internacional de São Paulo, at Fundação Bienal
1987 - São Paulo SP - 20th Contemporary Art Exhibition, at Chapel Art Show
1987 - São Paulo SP - The Biennials in the MAC Collection: 1951 to 1985, at MAC/USP
1988 - São Paulo SP - MAC 25 Years: Highlights of the Initial Collection, at MAC/USP
1988 - São Paulo SP - Retrospective, at MAC/USP
1989 - Lisbon (Portugal) - Six Decades of Brazilian Modern Art: Roberto Marinho Collection, at Centro de Arte Moderna José de Azeredo Perdigão
1989 - São Paulo SP - 20th Bienal Internacional de São Paulo, at Fundação Bienal
1989 - São Paulo SP - Brazilian Painting 20th Century: Works from the Banco Itaú Collection, at Itaugaleria
1990 - Brasília DF - Figurativism/Abstractionism: Red in Brazilian Painting, at Itaú Galeria
1990 - São Paulo SP - Figurativism/Abstractionism: Red in Brazilian Painting, at Itaú Cultural
1991 - Belo Horizonte MG - Figurativism/Abstractionism: Red in Brazilian Painting, at Itaugaleria
1991 - Santos SP - 3rd Santos National Biennial, at Centro Cultural Patrícia Galvão
1993 - Campinas SP - Figurativism/Abstractionism: Red in Brazilian Painting, at Centro de Informática e Cultura II
1993 - João Pessoa PB - Woodcut: From Cordel to the Gallery, at Fundação Espaço Cultural da Paraíba
1993 - São Paulo SP - Masp at Morumbi Shopping, at Shopping Morumbi
1994 - São Paulo SP - Bienal Brasil Século XX, at Fundação Bienal
1994 - São Paulo SP - Woodcut: From Cordel to the Gallery, at Companhia do Metropolitano de São Paulo
1996 - São Paulo SP - Brazilian Art: 50 Years of History in the MAC/USP Collection: 1920-1970, at MAC/USP
1997 - São Paulo SP - Great Names of Brazilian Painting, at Jo Slaviero Galeria de Arte
1998 - São Paulo SP - São Paulo Iconography in Private Collections, at Museu da Casa Brasileira
2000 - São Paulo SP - Brazil + 500 Rediscovery Exhibition. Modern Art, at Fundação Bienal
2001 - Rio de Janeiro RJ - Brazilian Watercolor, at Centro Cultural Light
2002 - São Paulo SP - Modernism: From the Week of '22 to Sérgio Milliet's Art Section, at CCSP
2004 - São Paulo SP - Gesture and Expression: Informal Abstractionism in the JP Morgan Chase and MAM Collections, at MAM/SP
2004 - São Paulo SP - Abstraction as Language: Profile of a Collection, at Pinakotheke
2004 - São Paulo SP - Women Painters, at Pinacoteca do Estado
Source: Itaú Cultural
