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Brazilian artists exhibited in the Corderie of the Arsenal at the Venice Art Biennale
Beatriz Milhazes (1979)
Beatriz Milhazes, Pindorama The works of Beatriz Milhazes are exhibited in a building in the Arms Room adjoining the Corderie of the Arsenal dedicated to the applied arts.
His paintings mix the figurative with the abstract.
They show the full range of his graphic repertoire, incorporating targets, rays of colour and light, and floral motifs in bright, vibrant colours. His works are bursting with colour and life.
Victor Brecheret (1894-1955)
Victor Brecheret Victor Brecheret was born in Sao Paulo, Brazil.
He was the most important Brazilian sculptor of the first half of the twentieth century.
He was awarded a scholarship in 1921 which enabled him to continue his artistic studies in Paris.
His stay in Paris marked a turning point in his work, which until then had concentrated on heroic works.
His sculptures became more sober, more linear, more geometric, and polished to the extreme so as to better reflect the light.
This is what can be seen in this sculpture of the "Virgin and Child" exhibited at the Corderie of the Arsenal in Venice.
Waldemar Cordeiro (1925-1973)
Waldemar Cordeiro, Untitled 1963 Waldemar Cordeiro was born in Rome, Italy, but emigrated to Brazil in 1946.
He quickly became the leader of the "Concrete Art" movement in San Paulo (1952-1959).
While he was particularly well known for his involvement in geometric abstraction devoid of any subjectivity, his artistic radicalism then gave way to a new phase during which he integrated three-dimensional objects into his works.
The painting “Untitled 1963” presented at the Corderie of the Arsenal in Venice was created during this transitional phase.
The plus (+) and multiplication (x) signs as well as the circles were hand-painted on a green background.
The use of mathematical symbols to create a work was something new at the time.
Anita Malfatti (1889-1964)
Anita Malfatti Anita Malfatti is one of the artists considered to have been at the birth of Brazilian modernism.
During her artistic education in Berlin and New York, she produced expressionist portraits in which she strove to capture the psychological traits of her models.
This is the case of the painting “A Muhler de cabelos verdes” which is being exhibited in the Corderie of the Arsenal on the occasion of this Venice Art Biennale.
Certain parts of the face are deliberately elongated to emphasise the model's character and give her an enigmatic expression.
This painting is considered to be one of the turning points in the history of Brazilian art.
Dalton Paula (1982)
Dalton Paula is a painter and photographer who also makes objects.The series "Full Body Portraits" exhibited at the Corderie of the Arsenal during the Venice Art Biennale is one of his latest experiments.
Fulvio Pennacchi (1905-1992)
Fulvio Pennacchi was an Italian immigrant to Sao Paulo in Brazil, where he created his own figurative style by painting popular scenes from everyday Brazilian life.
Fulvio Pennacchi, O Circo
Danilo di Prete (1911-1985)
Danilo di Prete, Untitled 1954 Danilo di Prete is an Italian artist who has chosen to live in Sao Paulo, Brazil.
A self-taught artist, he worked both as a publicist and as a painter, initially in the figurative realm, before turning to abstraction after 1945.
He studied cubism and abstraction before creating "metapsychic" and figurative works associated with cosmic journeys.
The painting presented at the Corderie of the Arsenal as part of the Art Biennale is representative of his first period of abstraction.
This work is a confrontation between a dark part that occupies the bottom of the painting and the yellow tones of the upper part where three free circles can be seen.
Eliseu Visconti (1866-1944)
Eliseu Visconti, Self-portrait Eliseu Visconti was an Italian immigrant to Brazil.
His works blended Brazilian academicism with Parisian fin de siècle modernism.
In his “Self-Portrait” his gaze challenges the viewer.
This painting was made when he had just returned to Brazil after spending seven years in Paris, where he had very little success.
His brushes are presented here as weapons aimed at an empty background that confronts the still raw canvas he is about to begin painting.
In the background of the painting, between his eyes and the top of his head, the clouds and sky underline the horizon to emphasise the forces that guided him between tradition and modernism.
Alfredo Volpi (1896-1988)
Alfredo Volpi, Fachada Marrom Alfredo Volpi was an Italian immigrant who arrived in Brazil in 1897 when he was just one year old.
During a trip to Italy in the 1950s, he was captivated by Giotto's frescoes and became interested in the tempera technique, which uses egg white instead of oil to bind the pigments.
The work presented at the Corderie of the Arsenal in Venice “Fachada Marrom” is representative of his period of abstraction through its use of geometric forms.
Shapes from the “Bandeirinhas” linked to the Brazilian abstractionism of the artists of the “Concrete” movement.
In this work he also incorporates elements from the popular world, such as the little flags on the façades of buildings.
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