100 paintings - Brazilian ranking
Brazilian painting: 100 works by Tarsila in Portinari
A museum classification of one hundred paintings, from the modernist ruptures of Tarsila and Malfatti to the social realism of Portinari, then to the abstractions of Volpi, Ohtake and Valentim.
Twenty-six paintings by artists who died before 1956 open an Alpha Reproduction file. The other seventy-four images lead directly to the institution that documents the work.
From icon to extensions
A classification based on works and museums
Brazilian painting does not follow a single line. It transforms 19th century academicism, absorbs the European avant-gardes, affirms national subjects, questions inequalities then renews abstraction through color, sign and material.
Abaporu, Migrants, The Coffee Worker and La Noire open a journey organized by artistic importance, not by date.
The hundred images have been compared with institutional notices. The titles are presented in French; the links retain the original titles and complete museum data.
The 100 paintings in pictures
Tarsila, Portinari, Malfatti, Segall and Di Cavalcanti open the classification with works that defined Brazilian modernity.
#1
Abaporu
Tarsila do Amaral assembles tropical color, biomorphic forms and the lessons of the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable first look, then gradually reveals the choices of framing and material. Abaporu, dated 1928, is executed using the following technique: oil on canvas. The work is documented by MALBA, whose notice constitutes the reference for this classification. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MALBA · Documentary use; rights with the institution.
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#2
Migrants
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Migrants, dated 1944, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. THE french title makes the ranking easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#3
The Coffee Worker
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Coffee Worker, dated 1934, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which form the basis of this reading.
Image: MASP · Documentary use; rights with the institution.
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#4
The Black
Tarsila do Amaral assembles tropical color, biomorphic forms and the lessons of the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable first look, then gradually reveals the choices of framing and material. La Noire, dated 1923, is executed using the following technique: oil on canvas. The work is documented by MAC USP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. There digital reproduction makes it possible to identify large color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MAC USP · Documentary use; rights with the institution.
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#5
Five young girls from Guaratingueta
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Five young girls from Guaratinguetá, dated 1930, are executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#6
The dead child
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Dead Child, dated 1944, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity.
Image: MASP · Documentary use; rights with the institution.
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#7
The Student
Anita Malfatti introduced a decisive expressionist tension into Brazilian painting. Unstable contours, bold colors and narrow points of view transform the portrait or rural scene into a psychological experience. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing an individual presence. The Student, dated 1915-16, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which form the basis of this reading. Reproduction digital allows you to identify large color ratios, but the institutional record remains essential to understand the format, material and storage conditions.
Image: MASP · Documentary use; rights with the institution.
See the museum notice →Tropical
Anita Malfatti introduced a decisive expressionist tension into Brazilian painting. Unstable contours, bold colors and narrow points of view transform the portrait or the rural scene into a psychological experience. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Tropical, dated 1917, is executed using the following technique: oil on canvas. The work is documented by Pinacothèque de Sao Paulo, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The French title facilitates the reading the ranking; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: Pinacoteca de Sao Paulo · Documentary use; rights with the institution.
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#9
War
Lasar Segall circulates between Europe and Brazil a serious expressionism, attentive to exile, precariousness and the violence of history. Its muted palette and compressed shapes give the figures a silent force. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals them choice of framing and material. War, dated 1942, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#10
Flag facade
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Flag facade, dated 1959, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. Digital reproduction allows to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#11
Workers
Tarsila do Amaral assembles tropical color, biomorphic forms and the lessons of the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable first look, then gradually reveals the choices of framing and material. Workers, dated 1938, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which form the basis of this reading. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#12
Burial in the hammock
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Burial in the hammock, dated 1944, is carried out using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface.
Image: MASP · Documentary use; rights with the institution.
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#13
Imaginary landscape - Landscape with clouds and churches
Guignard lightens the landscape until it floats mountains, churches and clouds in an almost weightless depth. His painting combines the precision of the motif with a poetic atmosphere that transforms the historic territory of Minas Gerais. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of the gaze and the feeling of depth. Imaginary landscape - Landscape with clouds and churches, dated Date not specified, is executed using the following technique: oil on wood. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#14
Itapuao, Salvador de Bahia
José Pancetti reduces the sea, the beach and the horizon to a few essential relationships. Its calm surfaces, its restrained blues and the precision of the distances give the coastal landscape a meditative intensity. The place is built by successive planes rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. Itapuao, Salvador de Bahia, dated 1953, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The French title makes it easier to read ranking; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#15
Naked boy and turtle
Vicente do Rego Monteiro simplifies figures and animals into compact volumes inspired by cubism, Art Deco and indigenous cultures. The surface acquires an almost sculptural monumentality. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing a presence individual. Naked boy and turtle, dated 1923, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#16
The Artist's Workshop
Almeida Junior installs Brazilian subjects in a rigorous observational painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices framing and material. The artist's workshop, dated 1886, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction here offers hand-painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#17
Moema
Victor Meirelles organizes the historical narrative and the official portrait with great mastery of light, drawing of the masses and staging. His paintings also show how academicism produced lasting images of national history. The scene articulates body, space and color without subjecting them to a single narrative. The scene articulates body, space and color without subjecting them to a single narrative. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Moema, dated 1866, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button open its file directly.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#18
Composition (Figure only)
Tarsila do Amaral assembles tropical color, biomorphic shapes and lessons from the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Composition (Figure only), dated 1930, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its sound singularity.
Image: MASP · Documentary use; rights with the institution.
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#19
Desire for love
Ismael Nery concentrates in the human figure a metaphysical research on desire, identity and the double. Condensed bodies and uncertain spaces give the scene mental intensity. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Desire d'amour, dated 1932, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows us to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction offers here a reproduction at hand painted oil; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#20
Flower seller
Djanira observes work, festivals and popular trades with frontal clarity. The simplification of forms does not reduce reality: it gives it dignity, rhythm and readability. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows us to measure the touch and attention paid to surfaces. Flower merchant, dated 1947, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance comes not only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The French title makes the classification easier to read; the Portuguese title remains visible in the data museum accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#21
Rice harvest
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Rice harvest, dated 1957, is carried out using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#22
Harvesting beans
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Harvesting beans, dated 1957, is carried out using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its sound singularity. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#23
Solomon's Judgment
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Judgment of Solomon, dated 1943, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The title french makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#24
The Resurrection of Lazarus
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Resurrection of Lazarus, dated 1944, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface.
Image: MASP · Documentary use; rights with the institution.
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#25
The Trumpets of Jericho
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Trumpets of Jericho, dated 1943, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, the material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
See the museum notice →Workers, portraits, popular scenes and biblical stories show the social power of Brazilian painting.
#26
The Penitent Hermit (The Prophet)
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Penitent Hermit (The Prophet), dated 1943, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without lose your uniqueness. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#27
The Massacre of the Innocents
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Massacre of the Innocents, dated 1943, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#28
The Lamentations of Jeremiah
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Lamentations of Jérémie, dated 1944, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. There digital reproduction makes it possible to identify large color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#29
Abraham's Sacrifice
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Sacrifice of Abraham, dated 1943, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#30
The Last Rampart - The Wrath of Mothers
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. The Last Rampart - The Wrath of Mothers, dated 1942, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity.
Image: MASP · Documentary use; rights with the institution.
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#31
Saint Francis
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Saint Francis, dated 1941, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. Digital reproduction allows you to identify major color ratios, but the institutional notice remains essential to understand the format, material and storage conditions.
Image: MASP · Documentary use; rights with the institution.
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#32
Madame Aimée
Candido Portinari gives a monumental scale to work, inner exile and collective drama. Heavy bodies, enlarged hands and arid lands make painting a social language without renouncing formal construction. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing an individual presence. Madame Aimée, dated 1945, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#33
Flags
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Flags, dated Date not specified, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#34
White and green flags
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. White and green flags, dated around 1957, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. Digital reproduction allows you to identify large color ratios, but the institutional notice remains essential to understand the format, material and storage conditions.
Image: MASP · Documentary use; rights with the institution.
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#35
Flags and masts
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Flags and masts, dated 1960s, are executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The French title makes it easier to read the classification; THE portuguese title remains visible in museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#36
Windmills
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. The tempera mate, the color relationships and the small irregularities of the layout maintain a balance between geometry and popular memory. The scene articulates body, space and color without subjecting them to a single narrative. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Windmills, dated Date not specified, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface.
Image: MASP · Documentary use; rights with the institution.
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#37
Concrete composition
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Concrete composition, dated Date not specified, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Digital reproduction makes it possible to identify major color ratios, but the institutional notice remains essential to understand the format, material and conditions of conservation.
Image: MASP · Documentary use; rights with the institution.
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#38
Oval facade
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Oval facade, dated Date not specified, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The French title makes it easier reading the ranking; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#39
Blue and green facade
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. Tempera mate, color ratios and small irregularities in the layout maintain a balance between geometry and popular memory. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with the shapes neighbors. Blue and green facade, dated Date not specified, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#40
House pattern
Alfredo Volpi starts from houses, facades, masts and pennants to achieve an autonomous pictorial order. The tempera mate, the color relationships and the small irregularities of the layout maintain a balance between geometry and popular memory. The scene articulates body, space and color without subjecting them to a single narrative. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. House motif, dated 1955, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. Reproduction digital allows you to identify large color ratios, but the institutional record remains essential to understand the format, material and storage conditions.
Image: MASP · Documentary use; rights with the institution.
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#41
Self-portrait with orange dress
Tarsila do Amaral assembles tropical color, biomorphic forms and the lessons of the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. THE framing indicates the social position of the model while revealing an individual presence. Self-portrait with orange dress, dated 1921, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#42
Port I
Tarsila do Amaral assembles tropical color, biomorphic shapes and lessons from the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. Port I, dated 1953, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its sound singularity.
Image: MASP · Documentary use; rights with the institution.
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#43
Nude study, mid-body figure
Tarsila do Amaral assembles tropical color, biomorphic forms and the lessons of the European avant-gardes to invent an immediately Brazilian modernity. Its space seems simple, but each curve precisely regulates the relationship between figure, landscape and symbol. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable first look, then gradually reveals the choices of framing and material. Study of nude, figure at mid-body, dated 1922, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, dating, technique and collection information which this reading is the basis. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#44
Fishermen
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The scene articulates body, space and color without subjecting them to a single narrative. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then reveals gradually the choices of framing and material. Pêcheurs, dated 1944, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The French title facilitates the reading the ranking; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#45
Woman's head
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Tête de femme, dated 1973, is executed using the following technique: oil on cardboard. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#46
Mixed race woman
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Mixed race woman, dated around 1947, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without lose your uniqueness.
Image: MASP · Documentary use; rights with the institution.
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#47
Mixed race woman on green background
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Mixed race woman on green background, dated 1963, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows us to find the original title, the dating, the technique and the collection information which form the basis of this classification reading. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#48
Mixed race woman
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Mixed race woman, dated 1952, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface.
Image: MASP · Documentary use; rights with the institution.
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#49
Women of the 1920s
Di Cavalcanti constructs an urban and popular painting based on the rhythm of silhouettes, the density of colors and the sovereign presence of figures. His compositions connect modernism to music, port, work and daily life. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Women of the 1920s, dated Date not specified, is executed using the following technique: gouache on paper. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#50
Ouro Preto Landscape
Guignard lightens the landscape until it floats mountains, churches and clouds in an almost weightless depth. His painting combines the precision of the motif with a poetic atmosphere that transforms the historic territory of Minas Gerais. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of the gaze and the feeling of depth. Landscape by Ouro Preto, dated 1950, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The title french makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
See the museum notice →Landscapes of Minas Gerais, ports of Santos, beaches of Bahia and interiors shift the gaze across the country.
#51
Sabara Landscape
Guignard lightens the landscape until it floats mountains, churches and clouds in an almost weightless depth. His painting combines the precision of the motif with a poetic atmosphere that transforms the historic territory of Minas Gerais. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of the gaze and the feeling of depth. Landscape of Sabara, dated 1950, is executed using the following technique: oil on wood. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#52
Young boy in a white striped shirt
Guignard lightens the landscape until it floats mountains, churches and clouds in an almost weightless depth. His painting unites the precision of the motif with a poetic atmosphere which transforms the historic territory of Minas Gerais. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing an individual presence. Young boy in a striped white shirt, dated 1962, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. Digital reproduction makes it possible to identify large color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#53
Jug of Flowers
Guignard lightens the landscape until mountains, churches and clouds float in an almost weightless depth. His painting combines the precision of the motif with a poetic atmosphere that transforms the historic territory of Minas Gerais. Objects and plants are distributed as masses of color, weight and texture. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows you to measure touch and attention brought to surfaces. Jug of flowers, dated 1958, is executed using the following technique: tempera on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#54
Vase of Flowers
Guignard lightens the landscape until mountains, churches and clouds float in an almost weightless depth. His painting combines the precision of the motif with a poetic atmosphere that transforms the historic territory of Minas Gerais. Objects and plants are distributed as masses of color, weight and texture. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows you to measure touch and attention brought to surfaces. Vase of flowers, dated 1950, is executed using the following technique: oil on wood. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity.
Image: MASP · Documentary use; rights with the institution.
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#55
Young girl with a book
Almeida Junior installs Brazilian subjects in a rigorous observation painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing an individual presence. Young girl in the book, dated Date not specified, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#56
Rustic landscape with bridge and houses
Almeida Junior installs Brazilian subjects in a rigorous observation painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Rustic landscape with bridge and houses, dated Date not specified, is executed using the following technique: oil on wood. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist being dead before 1956, Alpha Reproduction offered here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#57
Capuchin monk
Almeida Junior installs Brazilian subjects in a rigorous observational painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices framing and material. Capuchin monk, dated 1874, is executed using the following technique: oil on wood. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#58
The Painter Belmiro de Almeida
Almeida Junior installs Brazilian subjects in a rigorous observational painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices framing and material. The Painter Belmiro de Almeida, dated Date not specified, is executed using the following technique: oil on wood. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#59
Man bust
Almeida Junior installs Brazilian subjects in a rigorous observation painting. Light, daily gestures and the solidity of volumes move the academic tradition towards an experience closer to the real country. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing an individual presence. Bust of man, dated Date not specified, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The artist being died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#60
Barra Lighthouse - Muse of Peace
José Pancetti reduces the sea, the beach and the horizon to a few essential relationships. Its calm surfaces, its restrained blues and the precision of the distances give the coastal landscape a meditative intensity. The place is built by successive planes rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. Lighthouse de Barra - Muse of Peace, dated 1950, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface.
Image: MASP · Documentary use; rights with the institution.
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#61
Marine
José Pancetti reduces the sea, the beach and the horizon to a few essential relationships. Its calm surfaces, its restrained blues and the precision of the distances give the coastal landscape a meditative intensity. The place is built by successive planes rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. Marine, dated 1951, is executed using the following technique: oil on cardboard. The work is documented by MASP, whose instructions constitute the reference for this classification. Digital reproduction makes it possible to identify major color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#62
Marine
José Pancetti reduces the sea, the beach and the horizon to a few essential relationships. Its calm surfaces, its restrained blues and the precision of the distances give the coastal landscape a meditative intensity. The place is built by successive planes rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. Marine, dated Date not specified, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The French title makes it easier to read ranking; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#63
Self-portrait with hammer
José Pancetti reduces the sea, the beach and the horizon to a few essential relationships. Its calm surfaces, its restrained blues and the precision of the distances give the coastal landscape a meditative intensity. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing a individual presence. Self-portrait with hammer, dated 1941, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#64
Interior in Monaco
Anita Malfatti introduced a decisive expressionist tension into Brazilian painting. Unstable contours, bold colors and narrow points of view transform the portrait or rural scene into a psychological experience. The place is constructed by successive shots rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of the gaze and the feeling of depth. Interior in Monaco, dated 1925, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. Digital reproduction makes it possible to identify the major color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#65
Baptism in the countryside
Anita Malfatti introduced a decisive expressionist tension into Brazilian painting. Unstable contours, bold colors and narrow points of view transform the portrait or the rural scene into a psychological experience. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Baptism in the countryside, dated 1950s, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#66
Indoor of destitute
Lasar Segall circulates between Europe and Brazil a serious expressionism, attentive to exile, precariousness and the violence of history. Its muted palette and compressed shapes give the figures a silent force. The place is built by successive planes rather than described in detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Interior of the destitute, dated 1920, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity.
Image: MASP · Documentary use; rights with the institution.
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#67
The Convalescent
Eliseu Visconti varies the touch and the light between naturalism, symbolism and impressionism. The figures, flowers and interiors become fields of nuance where the atmosphere matters as much as the subject. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. The Convalescent, dated around 1896, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction offers here a hand painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#68
Meditation
Eliseu Visconti varies the touch and the light between naturalism, symbolism and impressionism. The figures, flowers and interiors become fields of nuance where the atmosphere matters as much as the subject. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Meditation, dated Around 1929, is performed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction offers here a hand painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#69
Naked
Eliseu Visconti varies the touch and the light between naturalism, symbolism and impressionism. The figures, flowers and interiors become fields of nuance where the atmosphere matters as much as the subject. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Nude, dated 1895, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#70
Flowers
Eliseu Visconti varies the touch and the light between naturalism, symbolism and impressionism. Figures, flowers and interiors become fields of nuance where the atmosphere matters as much as the subject. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows us to measure the touch and attention paid to surfaces. Flowers, dated 1917, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The artist having died before 1956, Alpha Reproduction offers here a hand painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#71
Dom Pedro II
Victor Meirelles organizes the historical narrative and the official portrait with great mastery of light, drawing of the masses and staging. His paintings also show how academicism produced lasting images of national history. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Dom Pedro II, dated 1864, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#72
Dona Teresa Cristina
Victor Meirelles organizes the historical narrative and the official portrait with great mastery of light, drawing of the masses and staging. His paintings also show how academicism produced lasting images of national history. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the position social of the model while revealing an individual presence. Dona Teresa Cristina, dated 1864, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#73
Doctor José Maria Chaves
Victor Meirelles organizes the historical narrative and the official portrait with great mastery of light, drawing of the masses and staging. His paintings also show how academicism produced lasting images of national history. The scene articulates body, space and color without subjecting them to a single narration. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Doctor José Maria Chaves, dated 1873, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button open directly sheet.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#74
The Rio Sorocaba Waterfall
Benedito Calixto documents the ports, beaches and rivers of Sao Paulo State by combining topographical accuracy and sense of composition. Water and sky build a visual memory of coastal transformations. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. The Cascade du Rio Sorocaba, dated 1891, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The artist being died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#75
Market dock in Santos
Benedito Calixto documents the ports, beaches and rivers of Sao Paulo State by combining topographical accuracy and sense of composition. Water and sky build a visual memory of coastal transformations. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Market quay in Santos, dated 1885, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows us to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction here offers hand-painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
See this reproduction →Volpi, Ianelli, Valentim, Ohtake, Mabe and Milhazes lead painting towards sign, color and surface.
#76
Bay with boats
Benedito Calixto documents the ports, beaches and rivers of Sao Paulo State by combining topographical accuracy and sense of composition. Water and sky build a visual memory of coastal transformations. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Bay with boats, dated 1907, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction here offers a hand-painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#77
Small Itanhaém beach
Benedito Calixto documents the ports, beaches and rivers of Sao Paulo State by combining topographical accuracy and sense of composition. Water and sky build a visual memory of coastal transformations. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Small beach of Itanhaém, dated 1892, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#78
Rio Itanhaém
Benedito Calixto documents the ports, beaches and rivers of Sao Paulo State by combining topographical accuracy and sense of composition. Water and sky build a visual memory of coastal transformations. The place is built by successive plans rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and feeling of depth. Rio Itanhaém, dated 1896, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#79
The Tree
Wega Nery develops a painting where the tree, color and dream become interior signs. The material and chromatic passages open the pattern towards a sensitive abstraction. The place is constructed by successive planes rather than described detail by detail. Horizon, vegetation, architecture and light determine the speed of gaze and the feeling of depth. The Tree, dated 1973, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. Digital reproduction makes it possible to identify the major color relationships, but the instructions institutional remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#80
Blue in the dream
Wega Nery develops a painting where the tree, color and dream become interior signs. The material and chromatic passages open the pattern towards a sensitive abstraction. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with neighboring shapes. Blue in the dream, dated 1988, is executed at the next technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance comes not only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#81
Composition
Arcangelo Ianelli organizes the surface by rectangles, superpositions and colored fields. The geometry is never dry: the transparencies and vibrations of the material maintain a luminous depth. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Composition, dated 1975, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#82
Superposition of rectangles
Arcangelo Ianelli organizes the surface by rectangles, superpositions and colored fields. The geometry is never dry: the transparencies and vibrations of the material maintain a luminous depth. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Superposition of rectangles, dated 1980, is executed using the following technique: acrylic on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. Digital reproduction makes it possible to identify large color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#83
Still life with vase and fruit
Pedro Alexandrino renews still life through precise observation of textures, weights and reflections. The arrangement of objects makes the table a real space for composition. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows us to measure the touch and attention paid to surfaces. Still life with vase and fruits, dated 1895, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows us to find the original title, the dating, the technique and the collection information which underpin this reading. The artist having died before 1956, Alpha Reproduction offers here a reproduction at hand painted oil; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#84
Still life with strawberries
Pedro Alexandrino renews still life through precise observation of textures, weights and reflections. The arrangement of objects makes the table a real space for composition. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows us to measure the touch and attention paid to surfaces. Still life with strawberries, dated Date not specified, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction offers here a reproduction at hand painted oil; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#85
Fish
Pedro Alexandrino renews still life through precise observation of textures, weights and reflections. The arrangement of objects makes the table a real space for composition. Objects and plants are distributed as masses of color, weight and texture. Their proximity allows us to measure the touch and attention paid to surfaces. Fish, dated 1886, is executed at the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#86
Okê Oxossi
Abdias Nascimento places Afro-Brazilian deities, emblems and cosmologies at the center of modern painting. The colored signs affirm a long-marginalized spiritual and political history. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Okê Oxôssi, dated 1970, is executed using the following technique: acrylic on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this route, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The French title makes the classification easier to read; the Portuguese title remains visible in the museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#87
The Double Personality of Oxumare no. 2
Abdias Nascimento places Afro-Brazilian deities, emblems and cosmologies at the center of modern painting. The colored signs affirm a long-marginalized spiritual and political history. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. The Double Personality of Oxumarê no. 2, dated 1971, is executed using the following technique: acrylic on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading.
Image: MASP · Documentary use; rights with the institution.
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#88
Two boys playing cup and ball
Belmiro de Almeida introduces a modern attention to attitudes, leisure and the psychology of models. The picture is constructed in the gaps between social gaze, pose and intimacy. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing a presence individual. Two boys playing the cup and ball, dated Date not specified, is executed using the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance comes not only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#89
The Poet Alberto de Oliveira
Belmiro de Almeida introduces a modern attention to attitudes, hobbies and the psychology of models. The painting is constructed in the gaps between social gaze, pose and intimacy. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. The poet Alberto de Oliveira, dated Date not specified, is executed using the following technique: oil on wood. The work is documented by MASP, whose instructions constitute the reference for this classification. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its file.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#90
Female nude lying down
Flávio de Carvalho treats the portrait and the nude as experiences of tension. Shortcuts, color and instability of contours prevent the figure from being reduced to a simple resemblance. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Naked elongated feminine, dated 1932, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity.
Image: MASP · Documentary use; rights with the institution.
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#91
Portrait of the painter Tarsila
Flávio de Carvalho treats the portrait and the nude as experiences of tension. Shortcuts, color and instability of contours prevent the figure from being reduced to a simple resemblance. The figure is less an inventory of features than a system of tensions between posture, gaze, background and color. The framing indicates the social position of the model while revealing a presence individual. Portrait of the painter Tarsila, dated 1971, is executed using the following technique: acrylic tinta on paper. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. Digital reproduction allows to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#92
Profile and soul
Ismael Nery concentrates in the human figure a metaphysical research on desire, identity and the double. Condensed bodies and uncertain spaces give the scene mental intensity. The scene articulates body, space and color without subjecting them to a single narration. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Profile and soul, dated Date not specified, is executed using the following technique: oil on wood or cardboard?. The work is documented by MASP, whose instructions constitute the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. The artist having died before 1956, Alpha Reproduction offers here a hand-painted oil reproduction; the image and the button directly open its plug.
Image: Alpha Reproduction · Hand painted oil reproduction.
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#93
Pages
Maria Leontina constructs paintings of signs, thresholds and intervals. The shapes seem to measure emptiness, while the color maintains a precise relationship between silence and rhythm. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes upon contact with neighboring shapes. Pages, dated 1973, is executed using the technique next: acrylic on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification.
Image: MASP · Documentary use; rights with the institution.
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#94
Thresholds, altars
Maria Leontina constructs paintings of signs, thresholds and intervals. The shapes seem to measure emptiness, while color maintains a precise relationship between silence and rhythm. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Thresholds, altars, dated 1970-80, is executed at the following technique: acrylic on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a benchmark: it shows how a local form can participate in a world history of painting without losing its singularity. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#95
Poetic emblem-logotype of Afro-Brazilian culture no. 8
Rubem Valentim transforms the signs of Afro-Brazilian religions into geometric emblems. This synthesis links constructive abstraction, cultural memory and political affirmation. The surface is organized by repetitions, deviations and superpositions. Each form has an autonomous value, but its color changes upon contact with neighboring forms. Poetic emblem-logotype of culture afro-brazilian No. 8, dated 1976, is executed using the following technique: acrylic on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The museum notice finally allows you to find the original title, the dating, the technique and the collection information which underpin this reading. The French title makes it easier to read the classification; the title portuguese remains visible in museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#96
Composition 12
Rubem Valentim transforms the signs of Afro-Brazilian religions into geometric emblems. This synthesis links constructive abstraction, cultural memory and political affirmation. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Composition 12, dated 1962, is executed at the next technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance comes not only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. Digital reproduction makes it possible to identify major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#97
Deer and doe
Vicente do Rego Monteiro simplifies figures and animals into compact volumes inspired by cubism, Art Deco and indigenous cultures. The surface acquires an almost sculptural monumentality. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Deer and biche, dated 1953-54, is executed using the following technique: tempera. The work is documented by MASP, whose notice constitutes the reference for this classification. Digital reproduction makes it possible to identify major color ratios, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#98
Composition
Manabu Mabe makes color and gesture the very subjects of painting. The floating masses and accelerations of the brush place Brazilian abstraction in an international circulation. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Composition, dated 1967, is executed using the following technique: oil on canvas. The work is documented by MASP, whose instructions constitute the reference for this classification. Looked at in this journey, the work becomes a landmark: it shows how a local form can participate in a world history of painting without losing its singularity. The French title makes the classification easier to read; the Portuguese title remains visible in museum data accessible via the link associated with the image.
Image: MASP · Documentary use; rights with the institution.
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#99
Composition in yellow
Tomie Ohtake combines broad gestures, restrained shapes and deep chromatic fields. The composition seems immediate, but is based on a very precise balance between appearance and erasure. The surface is organized by repetitions, deviations and superpositions. Each shape has an autonomous value, but its color changes on contact with neighboring shapes. Composition in yellow, dated 1966, is executed at the following technique: oil on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. The museum notice finally allows us to find the original title, the dating, the technique and the collection information which underpin this reading. Digital reproduction makes it possible to identify the major color relationships, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
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#100
Avenida Paulista
Beatriz Milhazes superimposes arabesques, flowers, circles and decorative motifs in intensely colored surfaces. His painting dialogues with Brazilian modernism while assuming ornament as a structure. The scene articulates body, space and color without subjecting them to a single narrative. The painting remains readable at first glance, then gradually reveals the choices of framing and material. Avenida Paulista, dated 2020, is executed using the following technique: acrilica on canvas. The work is documented by MASP, whose notice constitutes the reference for this classification. Its importance does not come only from the subject represented, but from the very constructed agreement between scale, color, rhythm and density of the surface. Digital reproduction makes it possible to identify major relationships color, but the institutional notice remains essential to understand the format, material and conservation conditions.
Image: MASP · Documentary use; rights with the institution.
See the museum notice →What the journey reveals
Three forces of Brazilian painting
Absorb, transform and reinvent connect generations without erasing their differences.
Transform
Brazilian modernism does not copy the avant-gardes: it recomposes them based on territory, language and popular culture.
Represent
Workers, migrants, urban figures and Afro-Brazilian subjects permanently displace the center of national painting.
Build
From Volpi to Ohtake and Valentim, color and sign become autonomous structures loaded with memory.
A plural modernity
From academy to cannibalism, then abstraction
In the 19th century, Meirelles, Almeida Junior, Calixto and Visconti worked in and around academic institutions while giving new visibility to the landscapes, figures and history of Brazil.
In the 1910s and 1920s, Malfatti, Tarsila, Segall, Di Cavalcanti and Rego Monteiro broke with conventions. The Modern Art Week of 1922 and then cannibalism made critical appropriation an aesthetic program.
Portinari then gives a monumental form to social realities. After 1945, Volpi, Mabe, Ohtake, Ianelli, Valentim and Leontina renewed abstraction, while Milhazes extended its decorative energy.
Four reading keys
How to look at these paintings
The format, material, pattern and place of the figure guide the reading of each work.
Read scale
In Tarsila and Portinari, body proportions become a political and poetic language.
See agreements
Greens, blues, reds and yellows build space as much as they evoke climate.
Follow the rhythms
Pennants, emblems and geometries connect popular culture and abstraction.
Approach the surface
Oil, tempera, acrylic and gouache produce different densities and lights.
Responsible collections
Continue after the hundredth painting
Each entry leads to the institution that preserves or documents the work.
Brazilian collections
01MASP CollectionBrazilian paintings02Sao Paulo PinacotecaTropical by Anita MalfattiFrequently asked questions
Tarsila, Portinari and Brazilian painting
Essential benchmarks for understanding ranking, techniques and sources.
Why does Abaporu open the ranking?
Painted in 1928 by Tarsila do Amaral, Abaporu sparked the cannibal movement and became one of the most famous images of Latin American modernism.
Why does Portinari take center stage?
Portinari has given monumental form to work, internal migration and inequality. Migrants, The Dead Child and The Coffee Worker are among his most powerful images.
How was the ranking established?
The order favors historical importance, pictorial invention, presence in public collections and the ability of each work to represent a decisive moment in Brazilian painting.
Are all entrances paintings?
Yes. The hundred works were verified by their technique: oil, tempera, acrylic or gouache. The route does not mix other categories of objects.
Why are the titles in French?
The titles are translated for the French-speaking readership. The Portuguese title and the original data remain available on the museum notice opened by each image.
Where do the images come from?
The majority comes from MASP. Abaporu refers to MALBA, La Noire to MAC USP and Tropical to the Pinacothèque de Sao Paulo.
Does Alpha Reproduction sell these works?
Twenty-six paintings by artists who died before 1956 are offered for reproduction by Alpha Reproduction and open their boutique profile. The other seventy-four entries remain documentary and refer to the corresponding institutions.
Can we reuse images?
You must consult the conditions indicated by each museum. Their presence here is documentary and does not transfer any reproduction rights.
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