MODERNO EXTRA YEAR 9 #7 SÃO PAULO MAY/JUN/JUL 2017 FREE DISTRIBUTION

IMPRESSIONISM AND BRAZIL Ministry of Culture and Museu de Arte Moderna de São Paulo present

IMPRESSIONISM AND BRAZIL

Curated by Great Hall Felipe Chaimovich May 16 through August 27, 2017 PRESENTATION

The exhibition Impressionism and The curator Felipe Chaimovich pro- Brazil looks at the arrival and devel- vides a didactic overview of how the opment of the first industrial art in conditions that made the movement the country. Among the roughly one possible in France took hold here in hundred works on show at MAM’s Brazil as well. The exhibition retraces Main Hall are several paintings by the these developments and presents French impressionist Pierre-Auguste articles that exemplify the kind of Renoir, a leading light of the Europe- industrially produced art supplies on an avant-garde. On the Brazilian side, sale in Rio de Janeiro between 1844 the exhibition features the pioneers and the 1930s, among pochades, para- of the style in Rio de Janeiro, the sols, rucksacks, foldable easels and an German Georg Grimm, and two of his unprecedented array of pigments. pupils, the Italian Battista Castagneto and the Brazilian Antonio Parreiras. With texts by the curator and suggest- ed activities by MAM’s Educational Impressionism emerged out of the department, this edition of Moderno rapid plein-air landscape painting en- MAM Extra invites the public to learn abled by innovations in the industrial a little more about the first industrial production of oil paints during the art in Brazil. Enjoy your reading. 19th century. From there, the tech- nique branched out into other genres, such as portraiture and still-life.

CONTENTS

Impressionism and Brazil: 5 The Birth of Industrial Art Felipe Chaimovich

Selected Works 15

Timeline 31

The Fisrt Palette 38 Antonio Parreiras

Poetic Experiments 41 Educativo MAM

Master Sponsorship Sponsorship Realization Works Exhibited 49 IMPRESSIONISM AND BRAZIL 7

IMPRESSIONISM AND BRAZIL: THE BIRTH OF INDUSTRIAL ART

Felipe Chaimovich

Industrially produced materials Duchamp. So where does Brazil purveyors of specialist art supplies. have been of interest to artists since come into this story? This rampant growth during the the beginning of the Industrial 1880s made landscape painting a Revolution. An inaugural example The industrially-produced mate- major draw at the Imperial Acad- of this interest was impressionism, rials liberally used by the impres- emy of Fine Arts, giving rise to the which marked the advent of a sionists were created in response first art school in Rio de Janeiro, as collective of independent artists to a growing market catering to the the historian Gonzaga Duque noted identified with the intense and amateur outdoor artist. The hun- in a book from 1888. This school of methodical use of new industrial dred years prior to impressionism art en plein air spurred the devel- materials for painting. Impression- had seen the advent of a new form of opment of a local strain of impres- ism emerged in France during the travel-and-paint tourism in Europe sionism, tailored to the rugged, 1870s, and its works can be found and the United States. The growing jagged terrains of places like Bota- today in the collections of all the number of adepts of plein air art fogo Cove, the changing light and leading galleries and museums fuelled a market for pochades, box crashing waves of Guanabara Bay, presenting the accepted history of easels, parasols, backpacks, and and the encroaching cityscape of modern art to the general public. an innovative gamut of synthetic Copacabana. Coincidentally, these The impressionists used oil paints pigments invented by chemists and same places today are world-fa- and paintbrushes that were new on mass-produced in factories. The mous tourist attractions practically the market to dramatically broaden result was a booming, global mar- synonymous with Brazil itself. So the expressive use of colour, volume ket, and Rio de Janeiro gives good it was during the first cycle of the and light, leaving a generous legacy measure of its expansion: in 1844, globalisation of capitalism, back in to the later artistic canon: Van the city had only six general paint the 19th century, that Brazil joined Gogh, Gaugin, Braque, Picasso, stores; by 1889, there were fifty-two the history of industrial art. 8 IMPRESSIONISM AND BRAZIL THE BIRTH OF INDUSTRIAL ART 9

Picturesque tourism was the trigger location, a practice that allowed the er’s eye in the first place. According varied pigments.8 And oil paints for brushes started to feature metal fer- air painting. It was one of these, behind this rapid expansion of the traveller to record the “impressions” to Valenciennes, this outdoor sitting artists benefitted from the industri- rules instead of bird feathers to at- Jean-Victor Bertin, who encouraged market for outdoor painting. In 1782, caused by these rugged features: should be kept within a specific time- alisation of synthetic colours. In the tach the bristles to the handle. These Corot to go practice in Fontaine- William Gilpin published a journal “From this correct knowledge of frame: “all studies drawn from life first half of the 19th century, five new metal bands made it possible to cre- bleau Forest. From 1829 onwards, on his travels in Wales, Great Britain, objects arrives another amusement; should be executed within two hours greens came on the market, includ- ate flat-belly brushes in addition to Corot painted regularly in Fontaine- related specifically to the search for that of representing by a few strokes at the very most, and no more than ing Veronese green and viridian. the traditional round ones. The flat bleau from his base in Barbizon. It “picturesque beauty.”1 In this book, in a sketch those ideas which have half an hour in the case of the rising The French firm Lefranc had four of brush enabled artists to apply thick was there that Corot adopted the Gilpin describes the challenges fac- made the most impression upon us.”4 or setting sun.”7 these new hues in its catalogue in the layers of oils, hitherto only possible “blond palette” of white-tinted ing the traveller scouting for unique From that time on, picturesque trav- 1850s, alongside only one natural- with a spatula, while retaining the hues.12 The light-filled effect was scenery, given the irregular terrain el became increasingly popular in Valenciennes’ method en plein air ly-occurring pigment, terre-verte.9 facture of the bristle tracks. the very opposite to the light-on- and wild vegetation it often involves. Europe and caught on in the United limited the chromatic effect ob- The pigments were sold in bulk, dark method hitherto dominant in The author also adds sketches of his States too, after 1820.5 tained through these quick-fire ground or otherwise, to artisanal co- In relation to painting en plein air, oil painting, as the composition no own, intended to “give a general idea sittings to the colours available lourmen, or else came ready to use, artist supplies stores offered oth- longer depended on the dark under- of the place, or scene, without enter- Besides the amateurs, professional for work in the field. The range of mixed with oil or wax. er practical items, such as folding lay to obtain foreground volumes. ing into the details of portrait,”2 as painters also saw demand grow with pigments used in painting in the late stools and box easels, parasols, back- Blond-palette painting, on the other is only appropriate for a travel guide the picturesque genre. Some tourists 18th century were pretty much the The growing demand for oil paints packs and portable palette cases, all hand, considered the background seeking to identify paintable views, even hired painters to accompany same as in the previous centuries, also drove innovation in paint pack- of which begin to be offered on the every bit as luminous as the fore- that is, picturesque settings. For them on their travels so that they with few exceptions, such as Na- aging. Up until the beginning of the mid-century catalogues of Lefranc ground. Exploring the blond-palette Gilpin, such places can be described could have something to show upon ples yellow, created from lead (II) 19th century, paints were stored in and Winsor & Newton technique enabled Corot to refine his as rough: “[…] we do not scruple to their return. The extent of the popu- antimonate around 1620. As such, pigskin bladders. However, between style and, as other painters joined assert that roughness forms the most larisation of landscape painting can the tones obtained by mixing paints the 1830s and 1840s, the English firm Taken together, these changes him in Fontainebleau from 1830 on, essential point of difference between be seen from an innovative manual in the outdoors within such a narrow Winsor & Newton started selling oil spurred by the Industrial Revolu- the Barbizon group took on an iden- the beautiful and the picturesque; as on the genre published in France in timeframe were basically restricted paints in glass syringes and experi- tion changed the practice of outdoor tity of its own. The new oil colours it seems to be that particular quality 1799 by Pierre Henri Valenciennes,6 to the effects of sky and cloud. The menting with squeezable inorganic painting. The practicality of the meant plein air painting could be which makes objects chiefly pleasing which could be used by amateurs same technical conditions applied bladders. In 1840, the North Ameri- tin tubes and the expanded palette done with a greater range of ready- in painting.”3 The notion of land- and professionals alike. The au- to coloured amateur sketches, which can John Rand patented in London they afforded saw oil paints finally made paints that, mixed with white, scape roughness became a central thor argued that landscapes should recorded the picturesque tourist’s a collapsible tin tube for storing and outstrip watercolours, the undis- could achieve far greater and more aspect of the English garden in the always be started en plein air, but impressions. Furthermore, if the dispensing oil paints that was far puted champion of the plein air varied luminosity. latter half of the 18th century: in ad- completed in the studio. The main painting happened to be executed in more resistant than the glass syringe. market since the late-18th century.10 dition to rolling lawns, gardens were aim of outdoor painting is to capture oils, the palette had to be prepared in The following year, Winsor & New- The production of ready-stretched Among the amateur and professional to be broken with rugged irregular- the particular light and transient advance of the expedition, as paints ton broke Rand’s patent by adding a canvases also supplanted the use of painters who started visiting Fon- ities that eschewed monotony and atmospheric conditions fleetingly at the time were kept in pig bladders screw-on lid to the tin tube. The oil paper in plein air oil painting11 and tainebleau in general and Barbizon varied the sensations, lending some expressed in the sky, and which that should be preserved in water. paint tubes were either sold empty led to a marked increase in oil-on- in particular was Narcisse Díaz de planned roughness to the garden- mottle all beneath in a special blend to craft paint-makers or ready-filled canvas painting outdoors in the first la Peña. Born in 1817, he became an ers’ designs. But what Gilpin was of colour. This preliminary painting However, the development of the at the company’s stores. Before long, half of the 19th century. apprentice of the porcelain paint- interested in was exploring natural will ensure that the finished work chemical industry quickly supplied the plein air palette could be mixed er Arsène Gillet in 1822, and took roughness on tours that involved remains true to the ephemeral light an innovative array of synthetic onsite and with an incomparable Valenciennes’ legacy in France was up plein air painting at Barbizon sketching picturesque views on and colour that had caught the paint- paints over the course of the 19th array of transport-friendly hues. furthered by the broader array of in 1837. In 1849, Días Penã started century. Various burgeoning lines of possibilities afforded by oil on can- selling his esquisses and live études. activity, such as the textile industry, Paint brushes were also given an vas. Two of Valenciennes’ direct pu- According to the French Academy,13 were interested in cheaper, more industrial makeover. In the first de- pils taught the young Jean-Baptiste an esquisse is a smaller-scale outline 1 Malcolm Andrews, The Search for the 4 William Gilpin, Three Essays: on Pictur- cades of the 19th century, European Corot, training him in the art of plein or sketch for a studio painting in Picturesque: Landscape Aesthetics and esque Beauty; on Picturesque Travel; and on Tourism in Britain, 1760–1800. Stanford: Sketching Landscape. Middleton: Forgot- Stanford Un. Press, 1990, 86. ten Books, 2015, 51.

2 William Gilpin, Observations on the 5 Andrea Wulf, Founding Gardeners: The 10 Malcolm Andrews, The Search for 12 David Bomford et al., impressionism: river Wye.[ https://archive.org/details/ Revolutionary Generation, Nature, and the 8 François Delamare e Bernard Guineau, the Picturesque: Landscape Aesthetics and Art in the Making. London: Yale Un. Press, 7 Pierre Henri Valenciennes, Élémens de cu31924104096304] consulted in March Shaping of the American Nation. New York: Les matériaux de la couleur. Paris: Galli- Tourism in Britain, 1760–1800. Stanford: 1990 (exhibition catalogue), 139. Perspective Pratique à l’usage des Artistes 2017, vi. Vintage Books, 2011, 171 mard, 2003, 98–115. Stanford Un. Press, 1990, 36–37. suivis De Réfléxions et Conseils à un Élève 13 Pierre Rosenberg, “Qu’entend-on 3 William Gilpin, Three Essays: on Pictur- 6 Anthea Callen The Work of Art: Plein- sur la Peinture, et particulièrement sur le 9 Anthea Callen, The Art of impression- 11 Anthea Callen The Work of Art: Plein- par esquisse?,” em Dominique Jacquot et esque Beauty; on Picturesque Travel; and on air Painting and Artistic Identity in Nine- genre du Paysage. [http://gallica.bnf.fr/ ism: Painting technique and the making of air Painting and Artistic Identity in Nine- al., L’apothéose du geste: L’esquisse peinte Sketching Landscape. Middleton: Forgot- teenth-century France. London: Reaktion ark:/12148/bpt6k5774181n], consulted in modernity. New Haven and London: Yale teenth-century France. London: Reaktion au siècle de Boucher et Fragonard. Paris: ten Books, 2015, 6. Books, 2015, 34–35. February 2017, 407. Un. Press, 2000, 146. Books, 2015, 76–78. Hazan, 2003 (exhibition catalogue). 10 IMPRESSIONISM AND BRAZIL THE BIRTH OF INDUSTRIAL ART 11

which the artist defines the colours such a clever hand; but he knew the to render the light on the trees, in spect it more closely resembled the moved to, using the same technique the public, and usually pejoratively, to be used in the final work. As the value of money and it disturbed him the shadows, and on the ground as it paintings made by amateur pictur- applied in his open-air Grenouillère as the impressionists. So indelible esquisse was a preparatory instru- that I should be making it so easily, really appeared to me. ‘You’re crazy!,’ esque tourists. The term was defined painting.21 At the end of that same had the term become that Renoir ment, it was painted quickly and for we were paid by the piece. My exclaimed Sisley, when he saw the as follows in Paillot de Montabert’s year, Monet started a landscape en insisted that the only way to defuse in opaque paints. Opaque painting predecessor, who was always held up picture. ‘Some idea, of painting trees Complete Treatise on Painting, plein air on which he adopted the its use was to accept it explicitly: allowed for faster execution than you to newcomers as the perfect exam- blue and the ground, purple!’”16 published in 1829 and republished same pochade-style dash. He called “The name ‘impressionists’ came could obtain with diluted or thinned ple, never painted anything with- In the years that followed, Renoir in 1851: “These free studies (…), as it “Impression: Sunrise,” using the spontaneously from the public, who paint, which is applied in successive, out long preparation and a careful developed a blend of skill and speed, rough, patchy and sketchy as they term identified with picturesque had been both amused and angered parallel, slow-drying layers. Opaque preliminary sketch. When the boss a mix of blond-palette hues and may be, can often produce the most travel sketches. And so different by one of the pictures on exhibi- painting required fewer layers, with saw me paint in my figures directly opaque oils. precious attempts, which is what dif- painterly forms—from landscapes to tion—an early-morning landscape the added bonus of allowing the on the bare cloth, he was aghast: (…). ferentiates them from the esquisse, portraits, still-lifes to genre paint- by Claude Monet titled Impression. artist to cover up errors and mask When he was finally forced to admit In 1869, Renoir took a plein air paint- which is more fully thought-out and ings—followed the same plein air By the name impressionists they did deficiencies.14 that the ’squaring’ process could be ing tour to Bougival with Monet. less tentative.”19 The pochade must methodology, with its customary not intend to convey the idea of new discarded, he wanted to cut down the The two artists decided to paint the have been a sufficiently well-estab- swift execution. research in art, but merely a group In 1862, Díaz Peña took under prices. But his nephew advised me to same view of the Seine, with an islet, lished form by that stage, to judge of artists who were content to record his wing a young plein air painter stick to my guns.”15 swimming platform and a barge from the market for portable box In 1874, Renoir, Monet and Sisley impressions. In 1877, when I exhib- visiting Fontainebleau that sum- restaurant called “La Grenouillère” easels named after it, as advertised joined their colleagues Pissarro, ited once more with a part of the mer: Auguste Renoir. Both men Renoir abandoned his career as a in the foreground. Sitting on the in the catalogue of the French firm Degas, Pin, and Morisot in founding same group in Rue Lepeletier, it was had been porcelain painters and workman painter in 1861 after saving river bank, they worked quickly, and Bourgeois Aîné in 1896.20 a co-op to sell their works. It was a I again who insisted on keeping this migrated into outdoor oil painting. up enough money to support himself it was in the company of the experi- time of deep-rooted change in the name ‘impressionists,’ which had put Renoir was born in Limoges in 1841, through his studies. He took an ap- enced Renoir that Monet made his Renoir and Monet continued to relationship between the French us in the limelight. It served to ex- a town that had a thriving decora- prenticeship under Charles Gleyre, first use of the flat brush, laying on produce pochades in the years that State and the annual salons that had plain our attitude to the layman, and tive porcelain industry, and moved who had opened a private school thick, well-spaced single layers of followed, and Bazille and Sisley soon hitherto served as the main outlet hence nobody was deceived: ‘Here to Paris when he was still a child. At offering live-model classes. Gleyre opaque paint.17 Monet used fifteen joined them. The quick-fire execu- for artists. Having shed monarchy is our work, we know you don’t like the age of thirteen, Renoir’s father used the light-on-dark technique, colours on this one painting, most of tion of plein air painting and the free once and for all, Republican France it. If you come in, so much the worse got him a job painting chinaware at and Renoir followed suit, with an which were newly released industri- use of colour it encouraged were was encouraging private-sector ini- for you; no money refunded.’”22 Lévy Frères, where he was paid per eye on the sales a dealer promised al paints:lead white, Prussian blue, fuelled by the fast-expanding array tiatives, and things were no differ- piece. From the very outset, Renoir’s to land for him. At Gleyre’s school, cobalt blue, Veronese green, viridian, of oil paints available on the market ent in the art market. It was under From that time on, impressionism technique was geared to speed, as Renoir met Alfred Sisley, Fréderic chrome green and chrome yellow, at the time, which furnished local co- this new context that twenty-nine was identified with rapid, open-air he was paid by volume—the more Bazille and Claude Monet. In the “lemon” yellow (barium chromate), lourmen with a gamut of ready-made artists gathered at the studio of the painting applied to all painterly pieces he turned out, the more he summer of 1862, he travelled to yellow ochre, organic yellow, vermil- pigments to work with. The same photographer Nadar for an exhibi- forms, whether landscape, portrai- earned. Renoir then switched to Fontainebleau with Sisley, where lion, red ochre, red lacquer, cobalt brisk work pace was maintained on tion by the “Anonymous Society of ture, still-life or genre. The bevy painting decorative fans, usually he met the veteran plein air paint- violet and ivory black.18 The hasty paintings produced over successive Painters, Sculptors, and Printmak- of new industrial products on the copying works by Boucher, Lancret, er Díaz Peña, who advised him to creation of these paintings resulted days, or reworked in the studio—the ers.” Among the exhibited works market was decisive to the move- and Watteau, all adepts of opaque abandon the light-on-dark method in what Monet would himself de- gestural marks of speed became a was Monet’s “Impression: Sunrise.” ment’s emergence, as artists could painting, which dispenses with back and adopt a blond palette: “one of the scribe, in a letter to Bazille, as “bad differential, even when the artist The show was panned by the art now decide colour composition on layers, as the entire background gets chief reasons why I stopped painting oil pochade.” The pochade, unlike the was not actually working in the open critic Leroy, who dismissed most of the spot, from nature, and deliber- covered over anyway. Later on in his ‘black’ was my encounter with Díaz. I esquisse, was a sketch in oils that was air. Monet pioneered the extension the exhibits as “impressions” in the ately replicate the procedure on later industrial career, Renoir also worked met him under very curious circum- not intended to be developed into a of plein air speed to other genres sense of rushed plein air sketches. stages of a work or even on rework- on decorative blinds, by which time stances, on a day when I was work- finished studio painting. In that re- of painting. In 1872, he rendered He published his review under the ings. The adoption of the plein air he had acquired a technical prowess ing in the Forest of Fontainebleau, a scene from an annual festival in title “The Exhibition of the impres- method was seen as the negation of that made him faster than any of where I used to go in the summer Argenteuil, the town he had recently sionists.” In 1876, the Anonymous the tighter, more controlled practice his colleagues. As he recalled, “Only to paint landscapes with Sisley. (…) Society held its second collective, of studio painting, as Jules Laforgue one thing worried my employer. He I fearfully showed him the canvas I 16 Amboise Vollard, Renoir: An Intimate followed by a third a year later. By intimated in his catalogue text for Record. Courier Corporation, 1925, 10-11. liked my work and even went so far was then doing (…) ‘But why the devil 19 M. Paillot de Montabert, Traité com- 1877, the group was widely known to the 1883 impressionist exhibition: as to confess that he had never found do you paint so black?’ I immediately 17 Richard Bretell, Impression: Painting plet de la peinture. [http://gallica.bnf.fr/ “the impressionist painters have began another landscape, and tried Quickly in France, 1869-1890. New Haven ark:/12148/bpt6k206461q] consulted in and London: Yale Un. Press, 2000 (exhibi- February 2017, 201. tion catalogue), 115. 20 Anthea Callen The Work of Art: Plein- 21 Richard Bretell, Impression: Painting 14 Jean-Luc Daval, Oil Painting From 18 David Bomford et al., impressionism: air Painting and Artistic Identity in Nine- Quickly in France, 1869–1890. New Haven 22 Amboise Vollard, Renoir: An Intimate Van Eyck to Rothko. Geneva and New York: 15 Amboise Vollard, Renoir: An Intimate Art in the making. London: Yale Un. Press, teenth-century France. London: Reaktion and London: Yale Un. Press, 2000 (exhibi- Record. Courier Corporation, 1925 2002, Skira & Rizzoli, 1985, 34–40. Record. Courier Corporation, 1925, 8. 1990 (exhibition catalogue), 200. Books, 2015, 252. tion catalogue), 130. 26. 12 IMPRESSIONISM AND BRAZIL THE BIRTH OF INDUSTRIAL ART 13

accomplished this (…) by abandoning painting, and declared unequivocally the Academy. Grimm’s removal from air, and even experimented with fingers, as the critic says. Telling- reiras decided to become a painter in the precise forty-five-degree studio to his students: “whoever wants to the Imperial Academy of Fine Arts painting from a boat in 1886.30 His ly, Gonzaga-Duque uses the term 1878 after inheriting enough money lighting to live and to see in an hon- learn how to paint, grab an easel and testified to the inclement nature of very particular seascape style soon pochades, which is closely associated to pay his way through the Imperi- est and unfettered fashion amidst head for the woods.”25 In July 1883, his teaching practices, but also to became something of a trademark, as with the “impressions” created by al Academy of Fine Arts, where he the luminous spectacle of the plein Grimm’s students applied to the their profound effectiveness. After Gonzaga-Duque recognised in 1888: plein air painting practices. enrolled that same year as a night air, in the streets, in the countryside Imperial government for free tram leaving his post, he went to live in “he arranged a box of paints, bought student. However, it was only in 1884 or in interior settings.”23 The experi- passes so they could travel around nearby Niterói, and some of his more some oil boards and canvases, rented Castagneto’s style of plein air paint- that he started taking classes in land- ence of painting en plein air and the and paint.26 As Antônio Parreiras, loyal students—Antônio Parreiras, a boat and embarked on a tour of our ing was based on a very peculiar scape painting, and with Grimm only availability of industrial oil painting one of Grimm’s pupils, recalled, the Domingo Garcia y Vasquez, Hipólito shoreline. He doesn’t care much for palette mixed from a range of ready- some brief months before he was materials were, therefore, the pre- professor’s method was entirely out- Caron, Joaquim da França Júnior conventions or rules. All he needs is made oil paints. His paintings reveal dropped from the staff. Parreiras im- conditions of impressionism. doors: “Grimm only ever taught from and Francisco Gomes Ribeiro—fol- nature (…) His devil-may-care style the use of lead white, zinc white, mediately took to the plein air meth- nature. A master of rare competence, lowed him there and rented digs just requires only a fast and true hand, cadmium yellow, French red (mer- od: “When Grimm left the Academy, Outdoor painting was introduced in he was fair and severe. He subjected off Boa Viagem beach, so they could a precise brushstroke and keen eye. cury sulphate), yellow ochre, cobalt I went with him. I was living in Santa Brazil by Georg Grimm in the 1880s. his charges to a harsh regimen of be close to him. Castagneto may (…) When he doesn’t have time to blue, viridian, ivory black, terre-de- Rosa, in a small house among the Grimm was born in Bavaria in 1846 ceaseless work. He’d make us climb have accompanied his classmates switch brushes, he will make do with Sienne, ultramarine, terre-vert, and dunes on the spit. I would get up and practiced picturesque painting tall, rugged outcrops, spend days in to Niterói initially, but he certainly what he has in hand, dipped liberally alizarine red.32 These colour resourc- at sunrise every morning and head in Europe, including tours along the the forest, climb the steepest moun- did not stay there. Grimm contin- into different pots, or he will even es enabled him to paint quickly out over to Boa Viagem, where Grimm Mediterranean rim. He most likely tainsides, even at risk of life and ued to teach the group for a while paint with his fingertips, fingernails, at sea, as Gonzaga-Duque noted: “a lived, and there we would work arrived in Brazil in 1878, settling in limb, stumble through ditches, and longer, but soon embarked on new a spatula, or anything else within felucca would glide by with wind nonstop until noon. (…) I was living Rio de Janeiro, thecapital. In March work in swamps where the dark and picturesque expeditions. The group, reach, whether a fortuitously-shaped in its sails, and [Castagneto], at a in hopeless poverty. I gazed with of 1882, Grimm took part in a collec- still water befouled the whole place. however, remained intact until 1886. pebble, a twig, a piece of string, a feverous pace, swift hand and sharp infinite sadness at the near empty tive exhibition held by the Society And he subjected himself to these In 1887, Grimm stopped off at Niterói toothpick, a pipe handle, the stub of eye, would render it on oil board in paint tubes, knowing that soon I for the Promotion of the Fine Arts at same dangers and labours, painting one last time before returning to a cigarette. His paint box is a mess, just three or four seconds. A wave would have to stop working. (…) the Arts and Crafts Lyceum in Rio, under the brim of his field hat, which Europe in a bid to cure a disease he and in the hands of any other artist would swell and build, bear down Grimm’s pupils were all poor (…). So supplying 128 of the 418 paintings glimmered in the sunlight, striking may have contracted on one of his his palette would be utterly useless, on his boat with a curling roar, and when we had finished the last scraps on show. Grimm’s participation a thick and vibrant note against the expeditions. He died in Sicily that with its clustered blobs of colour. In in the scant time it took, his brush- of canvas and tubes of paint supplied caught the attention of the Impe- lush green.”27 same year. Grimm’s impact on a gen- fact, the caked bedlam of dry paint is es would have followed the entire by the Academy, we had nothing left rial government, perhaps through eration of students was so deep that downright unsightly. And don’t even movement, only stopping once the to work with.”34 Oil painting required Pedro II himself, who attended the Grimm’s relationship with the the year after his death the art critic think to ask him for a finished, pol- wave had broken. The wave would be materials that were expensive for exhibition. The professorship in the academics remained fraught, and in Gonzaga-Duque published a book ished, brushed and dusted painting. gone, swallowed back into the ocean, a young man like Parreiras, and his Painting of Landscapes, Flowers and 1884 his teaching contract was not in which he claimed the Bavarian His études are executed from nature, but its impression would live on in only real access to them was through Animals at the Imperial Academy renewed. Grimm was known for his painter had been the only man who in the style of a pochade; rashly, his painting; rowdy, arching, roaring. the Academy, so when he followed happened to be vacant at the time, strong temperament and opinions, had succeeded in founding an artistic independently. But what expres- A gust of wind would blow from the Grimm out the door, he risked not and the Trade Ministry ordered that which may have been the cause of a school in Rio de Janeiro.29 sion there is in these pasty messes, southeast, making the clouds roll and being able to afford to buy the tools Grimm be hired for the post, against strike against him led by his student what individuality in these sincere the sea spit, but when the wind died of his trade. the will of the Director, who wanted Giovanni Battista Castagneto28 at Among Grimm’s former landscape and unassuming dollops of paint!”31 down, the artist would have captured to leave the chair unfilled. The order students, Castagneto soon came to Gonzaga-Duque highlights his use its passing on his board.”33 In the 1880s, Rio de Janeiro experi- was issued in late March and the the fore as a plein air painter. Born in of thick, opaque paint, perhaps enced a boom in the supply of artists’ Bavarian painter was taken on as in- Genoa, Italy, in 1851, he immigrated obtained by first leeching out the oil Among the students of Grimm who materials. As much can be gleaned terim professor on May 1st.24 Grimm 25 Luiz Gonzaga Duque-Estrada, A arte to Brazil with his father in 1874 and on absorbent paper or wood, which accompanied their master to Niterói from the Almanak Laemmert, which brasileira. Campinas: Mercado de Letras, adopted the plein air method of 1995, 194. enrolled on the landscape painting would have made it easier to apply was Antônio Parreiras, who had circulated at court between 1844 and course at the Academy in 1879. After with other instruments or even his grown up there. Born in 1860, Par- 1889, that is, during Pedro II’s reign. 26 Carlos Roberto Levy et al., O Grupo Grimm: Paisagismo Brasileiro no Século studying under Grimm for two years, During its first year in circulation, XIX. Rio de Janeiro: Pinakotheke, 1980, 36. Castagneto left the Academy the the almanac listed six paint stores, 23 Jules Laforgue, “Impressionist art,” in Richard Bretell, Impression: Painting 27 Antônio Parreiras, História de um Pin- same year with his teacher. Castag- 32 Cláudio Teixeira, “A técnica de Pin- though it doesn’t specify what sorts Quickly in France, 1869–1890. New Haven tor contada por ele mesmo: Brasil – França, neto specialised in seascapes en plein 30 Carlos Roberto Levy et al., Giovanni tura de Giovanni Battista Castagneto,” em and London: Yale Un. Press, 2000 (exhibi- 1881–1936. Niterói: Niterói Livros, 1999, 3ª Battista Castagneto (1851-1900): o pintor Carlos Roberto Levy et al., Giovanni Battis- tion catalogue), 233. ed., 21-22. do mar. Rio de Janeiro: Pinakotheke, 1982, ta Castagneto (1851-1900): o pintor do mar. 28. Rio de Janeiro: Pinakotheke, 1982, 132. 24 Carlos Roberto Levy et al., O Grupo 28 Carlos Roberto Levy et al., Giovanni 34 Antônio Parreiras, História de um Pin- Grimm: Paisagismo Brasileiro no Século Battista Castagneto (1851-1900): o pintor 29 Luiz Gonzaga Duque-Estrada, A arte 31 Luiz Gonzaga-Duque Estrada, A arte 33 Luiz Gonzaga Duque-Estrada, A arte tor contada por ele mesmo: Brasil – França, XIX. Rio de Janeiro: Pinakotheke, 1980, do mar. Rio de Janeiro: Pinakotheke, brasileira. Campinas: Mercado de Letras, brasileira. Campinas: Mercado de Letras, brasileira. Campinas: Mercado de Letras, 1881–1936. Niterói: Niterói Livros, 1999, 3ª 21-26. 1982, 25. 1995, 193. 1995, 199. 1995, 199. ed., 16, 55. 14 IMPRESSIONISM AND BRAZIL THE BIRTH OF INDUSTRIAL ART 15

of paints these were. Four years lat- painting.”37 So, by the 1880s, the mar- more than I did there; I never saw cio in 1898 identified the artist as an ence, the Director started calling impressionism in Brazil consoli- er, in 1848, the number had grown to ket for industrialised supplies for oil such a variety of effects anywhere impressionist, saying: “his pochades out the winners. We were sure that dated in the 1920s with a growing twelve stores, including one special- painters was well and truly thriving else, such majestic, imposing con- hit genuine impressionist notes the grand prize would go to Estevão number of artists adhering to the ist supplier located at No. 5, Rua do in Rio de Janeiro, carrying a whole tours, such strong, vibrant, harmo- with the effects of colour and light Silva, who was waiting nervously, quick-fire, plein air method of Theatro, beside the church of Saint array of new paint colours launched nious colours.”38 Parreiras’ identifi- he strives to capture, some of which shaking and overwrought. But the landscape painting and applying it Francis of Paola. Pedro Rambert’s over the course of the 19th century. cation with painting en plein air was are painted from reality itself, others honours went to another entrant. to other genres, such as portraiture store offered “a large selection of If, on the one hand, the Imperial what led him back to the School of by perhaps envisioning a near-fan- Estevão looked despondent. (…) We and still-life. In addition to Lucílio everything pertaining to oil paint- Academy of Fine Arts ensured that Fine Arts, where he had cut his artis- tastical harmony, for decorative were about to object. —Silence!, de Albuquerque, other impression- ing, miniatures, watercolours and its students had access to paints, tic teeth under Grimm. purposes, emulating some caprice of he clamored. —I know what I’m ists were Antônio Garcia Bento frescos.”35 In 1872, the Almanak Lae- the retail trade was another line of nature.”40 Once again, we have the going to do. (…) Finally, Estevão’s (1897–1929), Mário Navarro da Costa mmert attested to a major increase supply for painters embarking on an During the tumultuous reformu- term pochade, associating Visconti’s name echoed through the hall. He (1883–1931), and Henrique Caval- in the artists’ supplies market by independent career, like Parreiras. lation of the School of Fine Arts, painting with swift execution, à la walked past us calm as you like, and leiro (1892–1975), the latter study- creating separate sections for stores another painter who rebelled was Castagneto. However, the explicit crossed the floor in a slow stride. He ing under Visconti at the National dealing in “Hardware, paints, varnish While continuing to pursue a pro- Eliseu Visconti. Born in Italy in mention of impressionism in Brazil approached the dais on which the School of Fine Arts. and related goods” and those supply- fessional career as plein air painter 1866, he arrived in Brazil in 1873 and is a mark of recognition of the plein Emperor sat, and—oh, it was beau- ing “Paints and varnishes of all quali- after following Grimm to Niterói, enrolled at the Imperial Academy air movement introduced by Grimm tiful, just beautiful—that black man In the Brazilian case, impression- ties.” Definitive proof that the artists’ Parreira decided to return to the in 1885. In 1890, Visconti joined and propagated by his pupils. raised his head haughtily and de- ism maintained close institutional materials retailer was here to stay academic environment, this time as a a group of dissidents who were clared in loud voice: ‘I decline!’…”41 ties to officialdom in Rio de Janeiro came in 1882, with the appearance teacher. With the end of the monar- against the direction the reforms From 1900 onwards, rapid plein João and Arthur Timóteo da Costa from the first plein air painters in of a section devoted to “Ground and chy, the Imperial Academy of Fine were headed, and together they set air painting and adherence to the travelled the length and breadth of the 1880s despite the turbulent prepared paints, utensils for painters Arts became the National School of up some experimental free fine-art impressionist movement began Rio de Janeiro dashing out rapid transition to the Republican period. and draughtsmen, etc.,” which listed Fine Arts, and underwent thorough art courses, initially in a tent raised to figure as real possibilities for oil paintings in the great outdoors, Its genesis is indissociable from eleven establishments, including reform in 1890. In November of that in São Francisco Square, down- students at the National School of for which they won study prizes in the arrival of imported industri- Casa De Wilde, which carried “an as- year, Parreiras joined the teaching town Rio, and later at the site of the Fine Arts and for recently trained Europe, where they saw the work of al artists’ materials by specialist sortment of paints, canvases, papers, staff of the re-founded institution, former Ateliê Moderno. Visconti professionals. The brothers João the impressionists first-hand. stores, particularly in Rio, then the paintbrushes and other materials and remained in his position un- was one of the first students to sign and Arthur Timóteo da Costa are a national capital. These retailers en- for artistic painting.”36 Incidentally, til the following year. Like Grimm up for the painting course at what case in point. The former was born There was also, interestingly, a sured a steady and growing supply Castagneto held his first solo exhi- before him, he clashed constantly came to be known as the Free Studio. in 1879 and the latter in 1882, both woman among the Brazilian impres- of new oil-paint colours, brushes bition at Casa De Wilde, in 1885. In with the reformers, whom he felt The four-month courses culminat- in Rio de Janeiro. They worked sionists: Georgina de Albuquerque. with metal ferrules, ready-stretched 1889, the Almanac listed 52 stores were taking the institution in the ed in a collective exhibition.39 But as apprentice draughtsmen and Born in Taubaté in 1885, she enrolled canvases and all the paraphernalia under the category “Ground and wrong direction. In parallel, Parrei- Visconti soon made his peace with printmakers at the Brazilian Mint, at the National School of Fine Arts in of painting en plein air. As such, prepared paints, utensils for paint- ras reacted by setting up an indepen- the National School of Fine Arts and where they secured scholarships 1905, and moved to Paris two years impressionism was the first artistic ers and draughtsmen, etc.,” one of dent school of his own, The Plein Air won a travel prize to Europe there at the National School in 1894. The later with her husband and fellow movement in Brazil directly fos- which was Thiago & Filhos, a retailer School, in Niterói. Parreiras’ person- the following year, the first of the brothers were black, and there was painter Lucílio de Albuquerque. She tered by industrial innovations. offering “a vast selection of import- al dedication to outdoor painting was Republican period. Throughout the a somewhat legendary story con- practiced en plein air and became ed paints, lacquers and articles for decisive in his artistic maturity, as 1890s, Visconti spent various periods cerning another black artist at the a teacher at the National School of he recalls in his memoir: “We waded in France, where impressionism had institution they were about to join. Fine Arts in 1927. That same year a into the forest without beating trails already taken a firm hold. Though he Back when it was still the Imperi- book of interviews was published, in first, like the Bandeirante explorers. would only return to Brazil in 1900, al Academy, the African Brazilian which the artist declared, “impres- And in the deep jungle, we built the he constantly sent paintings to the artist Estevão Silva, a classmate of sionism, the way I do it at any rate, 35 Eduardo Laemmert (ed.), Almanak auricana ranch. It was there, in that salons in Rio de Janeiro. An article Antônio Parreiras, figured among is new here, and it met with no little Administrativo, Mercantil e Industrial da 42 Corte e Província do Rio de Janeiro para o fantastic, extraordinary, stunning, published in the Jornal do Commer- the winners of one of the insti- resistance in the beginning.” Anno Bissexto de 1848. http://objdigital. calm, wild, mountainous place that tution’s competitions. Parreiras bn.br/acervo_digital/div_periodicos/alma- I became a painter. I never learned recalls the event as follows: “After nak/al1848/00000404.html, consulted in February 2017, 398. 38 Antônio Parreiras, História de um thanking the Emperor for his pres- Pintor contada por ele mesmo: Brasil – 41 Antônio Parreiras, História de um Pin- 36 Eduardo Laemmert (ed.), Almanak França, 1881–1936. Niterói: Niterói Livros, tor contada por ele mesmo: Brasil – França, Administrativo, Mercantil e Industrial 37 Artur Sauer (ed.), Almanak Adminis- 1999, 3ª ed., 103. 1881–1936. Niterói: Niterói Livros, 1999, 3ª da Corte e Província do Rio de Janeiro trativo, Mercantil e Industrial do Império ed., 50-51. para 1882. http://objdigital.bn.br/acer- do Brasil para 1889. http://objdigital.bn.br/ 39 Miriam Seraphim, “A carreira artís- 40 Apud. Miriam Seraphim, “A carreira vo_digital/div_periodicos/almanak/ acervo_digital/div_periodicos/almanak/ tica,” em Tobias Visconti (org.), Eliseu artística,” em Tobias Visconti (org.), Eliseu 42 Apud. Roberto Pontual, Dicionário al1882/00000766.html., consulted in al1889/00001068.html, consulted in Visconti: A Arte em Movimento. Rio: Hólos, Visconti: A Arte em Movimento. Rio: Hólos, das Artes Plásticas no Brasil, Rio de Janei- February 2017, 683. February 2017, 1040. 2012, 72. 2012, 83. ro: Civilização Brasileira, 1969, 9-10. Pierre-Auguste Renoir O Pintor Le Couer Caçando na Floresta 17 de Fontainebleau, 1866 18 Pierre-Auguste Renoir Retrato de Coco (Claude Renoir) Pierre-Auguste Renoir Dama sorrindo (retrato de Alphonsine Fournaise) 19 1903-1904 1875 20 Giovanni Battista Bote a seco 21 Castagneto 1894 22 Antonio Parreiras Paisagem (Água parada) Antonio Parreiras Paisagem (Friburgo) 23 1894 1891 24 Arthur Timótheo da Costa O cais de Pharoux João Timotheo da Costa Paisagem RJ 25 1918 1921 26 Georgina de Moura Igreja dos Remédios - Praça João Mendes Lucílio de Albuquerque Arredores de Porto Alegre 27 Andrade Albuquerque n/d 1914 28 Antônio Garcia Bento Porto do Calaboço Antônio Garcia Bento Untitled 29 1921 n/d 30 Giovanni Battista Marinha 31 Castagneto 1898 IMPRESSIONISM AND BRAZIL TIMELINE 33

TIMELINE

1782 In Great Britain, Gilpin publishes a travel journal on what he calls “picturesque” sights in the English countryside geared towards tourists interested in painting or sketching appealing landscapes. Gilpin urges the “picturesque tourist” to keep out- door sketches of every place visited in order to record “impressions” of unusual or rugged landscapes. After Captions Gilpin, British picturesque tourists started brushing their “impressions” with watercolours and oils. EU IN EUROPE BR IN BRAZIL 1789 Start of the French Revolution against the House of Bourbon. IND IN INDUSTRY 1797 Vauquelin isolates chrome. Left page: Detail of Mappa Archi- tectural da cidade do Rio de Janeiro - Parte Comercial, 1874 34 EU BR IND IMPRESSIONISM AND BRAZIL TIMELINE 35

1799 In France, Valenciennes publishes his 1816 Artists and construction technicians 1826 D. Pedro I founds the Imperial Acad- 1831 Chevallier advertises mechanically Reflections and Advice to a Student on fleeing persecution by the Bourbons in emy of Fine Arts in Rio de Janeiro, ground pigments in the Commercial Painting, Particularly on Landscape, France arrive in Rio de Janeiro. Among with Nicolas-Antoine Taunay teach- Almanac in France. recommending that landscape paint- the new arrivals are Nicolas-Antoine ing Landscape painting. ing en plein air should be done within Taunay and family. King João VI faces half an hour to two hours maximum unrest at court over the arrival of these 1835 Field publishes Chromatography, so as to capture the effects of ephem- former Napoleonic collaborators and 1827 Bouvier publishes his Handbook endorsing the durability of the new in- eral atmospheric conditions. These the planned school of the arts and for Young Artists and Amateurs in dustrial colours. Zinc white, discovered preliminary stages were to serve as crafts does not go ahead. Oil-painting, in which he describes a in 1782, is launched commercially. preparatory sketches for works fin- paintbrush with a metal ferrule that ished in the studio. allows bristles to be attached in a flat 1817 Discovery of cadmium yellow. belly for broad, even brushstrokes. 1840 The North American Rand patents the collapsible tin paint tube to re- 1802 Discovery of chrome yellows. Discov- place the old string-tied pig bladders. ery of cobalt blue. 1817 France introduces a landscape paint- 1828 Guimet creates synthetic ultrama- Cadmium yellow and orange go on ing category to the Rome Prize, and rine blue, previously produced using the market. outdoor landscape painting during expensive lapis lazuli. 1804 Napoleon is crowned Emperor as a the summer months becomes a consequence of the French Revolution. popular pastime. Plein air painters’ 1840 D. Pedro II is declared Emperor of retreats begin to appear along the 1829 The painter Corot travels to Barbi- Brazil at the young age of 14. coast of Normandy. zon, in Fontainebleau Forest, on an 1807 Under threat of imminent invasion outdoor painting tour; he returns the by Napoleonic forces, the Portuguese following year and meets the painters 1840 Monet is born in Paris; he grows up in royal family flees Lisbon. 1821 King João VI returns to Portugal, leav- Rousseau, Huet, Troyon, Millet and Le Havre, France. ing his son Pedro in Brazil as Regent. Daubigny. Barbizon becomes a popu- lar destination for plein air painting. 1808 The Portuguese royal family arrives Montabert publishes his Complete 1841 The British company Winsor & New- in Rio de Janeiro, fleeing the Napole- 1822 The painter Corot takes classes with Treatise on Painting, in which he ton breaks Rand’s paint tube patent onic forces invading Portugal. two of Valenciennes pupils at the Fine defines thepochade as a colour, hasti- and adds a screw-on lid. Collapsible Art School of Paris and begins to mix ly-drawn sketch or free study. tin paint tubes become widely used white into his colours to capture the among plein air painters, as they are 1814 Napoleon is defeated and the Bour- warm hues of natural light, a method vastly more practical than the old pig bons restored to the throne of France. known as “blond-palette painting.” 1830 Nicolas-Antoine Taunay returns to skin bladders. The monarchy begins to purge Napo- France, leaving his son Félix Émile leon’s collaborators. Taunay in his stead at the Imperi- 1822 Von Liebig publishes his description al Academy of Fine Arts in Rio de 1841 Renoir is born in the town of Limo- of the synthesis of copper-based Ve- Janeiro; Félix has a copy of Reflections ges, France, home to an important 1815 A group of artists and construction ronese green. and Advice to a Student on Painting, painted porcelain industry. technicians who had collaborated Particularly on Landscape, by Valen- with Napoleon and was now suffering ciennes, whose landscape painting persecution by the House of Bourbon 1822 Brazil declares independence from method is adopted by the institution. 1844 The Renoir family moves to Paris. leaves France for Rio de Janeiro in Portugal, with D. Pedro I as monarch. search of a safe haven; in return, they offer to found a school of the arts 1831 D. Pedro I returns to Portugal, leaving 1844 The Almanak Laemmert (Laemmert and crafts. Among the French artists the throne to his underage heir Pedro Almanac) goes into circulation, carry- bound for Brazil is the painter Nico- II, under the tutelage of regents. ing the names and addresses of all the las-Antoine Taunay. commercial establishments in Rio de Janeiro. Six paint stores are listed in the almanac. 36 EU BR IND IMPRESSIONISM AND BRAZIL TIMELINE 37

1848 The Almanak Laemmert lists twelve 1859 Lefranc starts selling oil paints in tin 1863 Monet, Renoir and Sisley travel to 1872 The Almanak Laemmert now fea- paint stores in Rio de Janeiro, includ- tubes. Guignet takes out a French Fontainebleau Forest to do some tures two store categories for paints ing one run by Pedro Rambert, boast- patent on chromium-oxide viridian, plein air painting, and go back for and paint-related items: “Hardware, ing “a large selection of everything discovered in 1838. Cobalt violet goes more two years later. paints, varnish and related goods,” and pertaining to oil painting, miniatures, on sale. “Paints and varnishes of all qualities,” watercolours and frescos.” indicating the presence of a specialist 1866 Monet produces the painting “Wom- trade for artists’ materials in Rio de 1859 Monet goes to Paris to study painting. en in the Garden,” working directly Janeiro. Visconti arrives in Brazil. 1850 The company Lefranc introduces on the canvas, with no studies or cadmium yellow to its catalogue in sketches. Visconti is born in Giffoni France. Zinc yellow also goes on sale. 1860 Launch of cerulean blue, composed of Valle Piana, Italy. 1874 Renoir, Monet, Sisley, Pissarro, Degas, cobalt and tin. Prin and Morisot found the “Anony- mous Society of Painters, Sculptors 1851 Castagneto is born in Genoa, Italy. 1868 Graebe and Liberman produce syn- and Printmakers” and hold their first 1860 Renoir registers as a copyist and takes thetic alizarin blue, previously only collective exhibition, featuring work daily lunch-time trips to the Louvre. derived from carmine extracted from by 29 artists. The exhibition is held 1854 In Paris, Renoir, then 13, starts the cochineal bug. Synthetic Nurem- at the studio of the photographer working as a porcelain painter at Lévy berg violet is also created using Nadar, in Paris, and includes various Frères, which produced porcelain 1860 Parreiras is born in Niterói. manganese. paintings made en plein air, such that imitated the wares manufactured as Monet’s “Impression: Sunrise” in Sèvres; Renoir painted floral motifs and others executed in opaque oils onto cups and plates at five centimes 1861 Renoir leaves his third job as a paint- 1869 Renoir and Monet go to Bougival applied with rapid gestures. The art a dozen before graduating to portraits er of blinds after saving up enough to paint, where they work side-by- critic Leroy pans the exhibition in of Marie Antoinette at six sous a pop. money to take an apprenticeship side on a common theme: bathers in a review, decrying the number of under Gleyre, where he draws from the Seine at La Grenouillère; Monet canvases content to convey mere life and learns canvas painting tech- makes innovative use of the flat-belly “impressions.” He pejoratively labels 1856 Perkin creates mauveine, a synthetic niques from his master. brush, applying thick, separate patch- the group “impressionists.” aniline purple. es of opaque oil paint while letting the underlay show through in places. 1862 Monet joins Gleyre’s studio as an He refers to the results as pochade. 1874 Castagneto arrives in Brazil. 1856 Monet meets the painter Boudin, who apprentice; Renoir, Monet, Sisley and Renoir uses more diluted oils, applied teaches him plein air painting . Bazille study together under Gleyre; in rapid flicks and curves; Mon- Renoir and Sisley go to Fontainebleau et’s painting is done in lead white, 1876 The co-op “Anonymous Society of Forest for some plein air painting Prussian blue, cobalt blue, viridian, Painters, Sculptors and Printmakers” 1858 Ducrot publishes the handbook during the summer, where they meet emerald green, chrome green, chrome holds its second collective exhibition Learning Oil Painting and Pastel the painter Díaz, who has been work- yellow, lemon yellow, yellow ochre, in Paris. Without a Master in which he de- ing outdoors in Fontainebleau since red ochre, red lacquer, cobalt violet, scribes his method for thickening oil 1837. Díaz advises Renoir to abandon and ivory black. paints by applying them first to absor- Gleyre’s dark background method. 1877 The co-op “Anonymous Society of bent wood or paper to leech out the Renoir changes his technique, paint- Painters, Sculptors and Printmakers” oil. Renoir switches from chinaware ing directly from sight in the open air, 1871 Monet moves to Argenteuil. holds its third collective exhibition to painting copies of Watteau, Lan- as recommended by Díaz. Sisley is in Paris. Eager to avoid the disgrun- cret and Boucher—opaque oil paint- unimpressed, saying: “You’re crazy! tlement witnessed at the previous ers from the previous century—onto Some idea, of painting trees blue and 1872 Monet uses the quick-fire,plein air shows, Renoir insists on incorporat- women’s fans. The composition he the ground purple!” method developed with Renoir over the ing the word “Impressionists” into copies most often is Boucher’s “Diana last three years to paint a street scene the exhibition’s title so that the public Leaving her Bath.” at an annual festival in Argenteuil; he will know what to expect, as if to say: acquires a studio-boat so he can paint “Here is our work, we know you don’t on the water, a process Daubigny has like it. If you come in, so much the been using since 1852. Monet paints worse for you; no refunds.” “Impression: Sunrise” in Le Havre. 38 EU BR IND IMPRESSIONISM AND BRAZIL TIMELINE 39

1877 Zeferino da Costa takes on the posi- 1883 Laforgue publishes the text Impres- 1889 The last edition of the Almanak Lae- tion of landscape painting teacher at sionist Art in the catalogue for an mmert lists 52 stores selling “Ground the Imperial Academy of Fine Arts in exhibition in Berlin. He argues that and prepared paints, utensils for Rio de Janeiro; he would later com- the Impressionists have extended the painters and draughtsmen, etc.,” plain that the students needed tram use of the rapid, opaque technique including Thiago & Filhos, a retailer passes so they could scout for loca- employed in landscape painting to offering “a vast selection of imported tions en plein air. Castagneto enrols at other genres, including portraiture paints, lacquers and articles for paint- the Imperial Academy of Fine Arts. and the depiction of interior settings. ing”—further proof of the growing market for artists’ supplies in Rio de Janeiro during the 1880s. Proclama- 1878 Grimm, a picturesque landscape 1884 Parreiras studies landscape painting tion of the Republic. painter born in Bavaria in 1846, ar- under Grimm, whose contract with rives in Rio de Janeiro. the Imperial Academy of Fine Arts is not renewed. He moves to a house 1890 Parreiras teaches landscape painting near Boa Viagem beach in Niterói, at the National School of Fine Arts, 1882 The Almanak Laemmert opens a new where he continues to train six pupils, the former Imperial Academy. He section: “Ground and prepared paints, including Parreiras. His students teaches classes en plein air, often utensils for painters and draughtsmen, move into digs in Niterói so they can taking his students to Niterói, where etc.,” recognising the growing speciali- stay close to their master. Castagneto he founds the Plein Air School after sation of purveyors of artists’ materials abandons the Imperial Academy of taking issue with the new direction in the city. The Almanac now lists elev- Fine Arts. adopted at the National School during en artists’ supply stores, including Casa the first years of the Republic. Other De Wilde, which carries “an assortment teachers unhappy with the reforms of paints, canvases, papers, paintbrush- 1885 Visconti joins the Imperial Academy also resign and open the Ateliê Livre es and other materials for artistic paint- of Fine Arts. (Free Studio) in Rio de Janeiro. Vis- ing.” Grimm participates in a collective conti studies painting there. exhibition at the Arts and Crafts Lyce- um of Rio de Janeiro, presenting 128 1886 Castagneto starts producing sea- works, mostly picturesque landscapes scapes from a boat on the water. 1898 An article in the Jornal do Commercio painted on his travels. Possibly at the identifies Visconti with impression- behest of Pedro II himself, the Imperial ism: “His pochades strike genuine Ministry of Trade orders that Grimm 1887 Grimm falls ill and leaves for Europe, impressionist notes.” be hired as interim professor of land- dying soon afterwards in Sicily. scape painting at the Imperial Academy of Fine Arts, against the wishes of the 1900 Castagneto dies in Rio de Janeiro; the academic staff. Grimm adopts theplein 1888 Gonzaga Duque publishes the book colours used in his oil paintings were: air method at the Academy, declaring: A arte brasileira (The Brazilian Art), lead white, zinc white, cadmium yel- “whoever wants to learn how to paint, in which he recognises Grimm as the low, French red (mercury sulphate), grab an easel and head for the woods.” only figure who actually managed to yellow ochre, cobalt blue, emerald Castagneto is among Grimm’s pupils. found a school of painting in Rio de green or viridian, ivory black, ultra- Janeiro; on Castagneto’s dashed out marine, and alizarin red. opaque oils, he writes: “And don’t 1883 Parreiras enrols at the Imperial Acad- even think to ask him for a finished, emy of Fine Arts. Grimm requests polished, brushed and dusted paint- 1937 Parreiras dies in Niterói; the co- free tram passes from the Imperial ing. His études are executed from na- lours used in his oil paintings were government so that his students can ture, in the style of a pochade; rashly, zinc white, lead white, yellow ochre, scout the environs of Rio de Janeiro independently. But what expression cadmium yellow, Venetian red, burnt for good locations to paint en plein there is in these pasty messes, what terre-de-Sienne, pink lacquer, em- air. The colours his students use are: individuality in these sincere and erald green or viridian, ultramarine, black, white, yellow, ochre, terre-de- unassuming dollops of paint!” and ivory black. Sienne, green, blue, and red. 40 IMPRESSIONISM AND BRAZIL THE FIRST PALETTE 41

a bar and made a large palette out of panied me on so many outings that it I suppose you can still recall those a thick-cut sheet. He polished it up could almost find its way around on walks of ours over hills and vales at with the greatest care and engraved its own . . . So for years on end it was daybreak, carrying me in the box in THE FIRST my initials on it, intertwined with my inseparable companion on treks your shoulder bag. And, later, in some laurels, just as I’d asked. The palette over hills and valleys, into forests dark corner of the woods, or on the was almost the same size as the lid! It and along beaches. Sometimes, after banks of a clear trickling stream, you had a blinding dazzle in the sunlight. most of Grimm’s disciples were dead would fix me to your hand so that I The next day, at dawn, I headed for and gone, many years later, looking might furnish you with color. Later PALETTE Rio de Janeiro, showing off my box of upon that box as it lay open on the still, when your work was done and paints for all to see. I reached Santo dull sand or on the velvety moss of you sat to contemplate Nature, you Antonio hill, and my colleagues and a damp forest rock, the entire past would leave me on some bed of moss the teacher arrived soon after me. seemed to spring from it in diapha- in a patch of the sun’s glow. How My box was the centre of attentions, nous, pallidly colored visions. One sweet you were, how tender. You and everyone gathered around it, day, now very old indeed, threadbare never took your eyes off me. And I, laughing and goading. They gave me and scarred, its sheen long gone, the attached to your hand, helped you Read at the Rio de Janeiro Academy an awful roasting that day. box gave in beneath the weight of color all your dreams…And so you of Letters by Antonio Parreiras, the paints. I patched it back togeth- spent your days, humming, working, during a ceremonial session to mark I didn’t get a moment’s peace the er with some new lumber, but even full of enthusiasm, filled with joy and his career jubilee. whole class long. then its days were numbered, and I hope for days to come . . . Later, at twi- feared it would end up in a trail of lit- light, we made our happy return. You — My, oh my, take a look at his box, ter left somewhere in my wake. So I handled me with care. You stowed with its pretty silver palette . . . carefully stowed it away in my atelier me gently in your box. Then, at break like some priceless relic, wrapped in of day, you came for me again, and — And he’s already earned his laurels. a velvet rag. I left Brazil and spent bejeweled me anew with a rosary Look there on the lid. years abroad. I’ve had other paint of multicolored shimmering beads. boxes, some more beautiful, others They weren’t many—only eight—but Even the teacher came over to tease me. larger, others better by design or they possessed an inalterable vigor craft, but I still had a soft spot for and radiance. They have not faded Grimm was finally appointed to the as odd, unfamiliar, and I just couldn’t colored embankment overlooking — Praia Grande, that’s what he used to the old friend I’d left behind at my with the years, not bleached in the landscape painting teaching position get into it. But they forced me to copy cottages and beautiful trees at the call me, do give me that pretty paint studio back home. When I returned sun. You disdained those that lasted at the Academy of Fine Arts. it, to the detail, even the parts in it foot of Santo Antonio hill. box, won’t you lad? . . . to Brazil I had to have some work little, despite their initial charms. And that were clearly wrong! . . . done on my atelier, and I confess I’d off you’d go; careful not to shake my Prior to his arrival, our routine I purchased all the necessary ma- Although embarrassed for being so forgotten about the old box—out of rosary apart . . . How beautiful I was, consisted of copying etched prints “Just do what you are asked. That’s terials, including a stunning box childish, I said nothing. sight, out of mind—, after all, hadn’t out of my box, triumphant in the sun- and other old, foreign fare. The most what the Academy wants. But come of paints. The joy! At home that I had countless bigger and better light, my brilliant beads a-shimmer! frequent models were lithographs of with me to the woods if you want to night I studied each and every tube, I have never been one to be brow- ones?! . . . When I did finally come But it ended for me. I grew old, and “vieux chenes,” “peupliers,” “saules,” be a landscape painter someday.” smelling the contents as one would beaten by anyone, so I kept my paint across it again, I found it in bits. you, perhaps thinking me ridiculous, “fusains” by Allongé or Appian. When a bottle of perfume. I tested all the box and silver palette for many years Almost entirely devoured by wood- no longer wished to see me adorned, not that, then engravings of Roman You can’t imagine how pleased I was paintbrushes, with their varnished after that. Despite the great care I worm. I was about to throw it out and you abandoned me. ruins, or old German castles, repro- to hear Grimm say that. I worked like handles and silver ferrule ending always took with my work materials, when I noticed the palette which had ductions of reproductions a thousand crazy for days, weeks, copying the in silk bristles. I’d pick them up time and use took their toll and the borne my paints for so many years, I felt great regret for what I’d done. times over, and long bereft of what- large print line by line, and as it was and paint in the air, as if out in the palette gradually dulled and the ini- which had protected the lid from the ever dubious artistic quality their all just a matter of patience, the end fields. With such a beautiful box, all tials faded. Eventually, the silver was woodworm. I dusted it off and saw It was while gathering up the frag- originals had possessed many score result was exactly like the original. polished wood on the outside and all but rusted into the aging wood. the vestiges of my old colors. And it ments of the box that I found the sil- years earlier. We studied landscapes But it had taken me a month to do silver-plated on the inside, I had One day, a sad day, of which Grimm’s was as if a complaint rose to me from ver palette that once adorned the lid inside a classroom! . . . what a camera could have done in two an idea . . . What if I added a silver disciples had many, the palette was that time-weathered palette. and which had so entertained Grimm seconds. The teacher was happy with palette to the lid, right in the middle, removed from the little box and and his pupils that bright morning on Soon after enrolling at the Academy it. He presented the work to the panel with my initials intertwined with wound up in the attic. Only a long — So, you turn up at last, you ingrate . . . Santo Antonio hill. The past jumped I was told to copy a large print of a and I was allowed to join the painting laurels?! We had an old candlestick time later was it restored to its for- Is there anything you can’t forget? out at me from that time-dulled moss-clad Normandy “chaumière.” class, which, by this stage, was being at home, and my brother was a mer place. But it was a close call. But palette, and the past always coaxes a Everything about the thing struck me held out on a muddy but intensely goldsmith, so he melted it down into once back in service, the box accom- — Incredible! How . . . ? little nostalgia. IMPRESSIONISM AND BRAZIL POETIC EXPERIMENTS 43

Poetic Experiments

Here at MAM we use the term poetic experiments to refer to those mo- ments in which we propose activities Left page: Detail of Mappa Archi- tectural da cidade do Rio de Janeiro that stimulate museum—and world— - Parte Comercial, 1874 creation through fresh perceptions. 44 IMPRESSIONISM AND BRAZIL POETIC EXPERIMENTS 45

Attention Landscapes exercises at a brushstroke

An impressionist painting invites us of blue at work here, some lighter, Look for a comfortable vantage point Materials: to open our eyes to the riches of color others darker, and some even border- on a landscape you find interesting. and light that the world presents to ing on green. The same holds for the A landscape can be anywhere, even • Canson paper; us. When contemplating an impres- reality that surrounds us. When we the view from your own window. • Paintbrush; sionist work of art it’s important to look at length at a white wall, we will • Gouache or acrylic pay close attention to the variations see a whole gamut of tones and lumi- Have a stopwatch, some paintbrushes paint; in color and luminosity that a surface nosities of white. A similar chromatic and a variety of paints at the ready; • Stopwatch. can provide. wealth emerges from a well-studied the more tones you find, and the more shadow, and it was precisely this vivid they are, the more impactful the For an impressionist, a color is not tonal multiplicity that the impres- experience will be. some immutable, never-altering sionists wanted to show: the reality thing, but can assume different of colors and light, just as they appear Take a deep breath and really look at aspects depending on the light at to the naked eye, regardless of our the landscape before you. Try to iden- the time of painting, or the contrasts pre-conceived ideas of what white tify the patches of light and shade, or complementarity struck up with or shadow are supposed to look like. and how many shadows overlap to the other colors on the canvas. For Impressionist painting encourages create that shade. example, the blue gown worn by the a careful observation of reality, and woman in Renoir’s La Parisienne is that takes attention and time; time to From where you are watching, can you not simply blue. If we look closely, we let our environment manifest itself in see the wind? If it’s a rainy day, can you can see an array of tones and shades our perception. see the rain falling? Whatever view you are looking at, it will be soaked with impressions of colors and light.

Make three paintings of this same landscape, but at intervals and within specific timeframes. Take five min- utes for the first painting, three for the second and one for the third!

You may think it’s impossible to pro- duce a painting in so short a time, but that’s the experiment: be as swift as you can with your brush, and try to get Proposition: the colors down before light changes.

When visiting the exhibition Impres- Now take another breath and slide sionism and Brazil, take your time to back into your landscape. contemplate each work, so that this variety of color can unfurl. Observe yourself as well, noting the sensations and feelings that arise as you try to understand what you’re seeing. 46 IMPRESSIONISM AND BRAZIL POETIC EXPERIMENTS 47

How to Painting prepare oils photos

Mix the powder and oil into a smooth To clean your brushes or dilute* the Easy, you’re not going to be defacing paste (roughly the consistency of paint: Paint thinner or mineral spirits. the old family photos! The idea is to Materials: toothpaste). Use a palette knife to mix paint over photographs on transpar- the dry pigment and linseed. Don’t *The more diluted the paint is, the ent or tracing paper. • Linseed oil; use too much powder and be sure not more transparent the color will be on • Powder pigment (such to leave any oil unmixed. The palette the canvas. Diluted paint can be used Pick a color photo and place a sheet of as those manufactured knife can also be used to paint with, to glaze over dry layers in a process transparent paper over it. Make sure by Xadrez, or similar). instead of brushes. If you do use a known as velatura. it’s totally covered. Carefully observe paintbrush, the flatter-headed variety the colors, mix the respective gouache is more effective with this kind of paint. paints, and paint over the patches of color showing through the paper. Mix your paints until you obtain as close a color match as you can. Don’t draw any lines, just paint over all the colors you can see. Remove the paper and set it side-by-side with the photo. Want to go Well, how does it compare? even further?

You can always prepare your own canvases.

Materials: Materials:

• Cotton canvas sheet- Cut the canvas to a size large enough stapling (use a stapling gun). Thin • Color photo; ing (with a strong cross to stretch over and drape around some white latex paint with water • Transparent or weave, the kind found in your frame. Dampen the canvas and apply evenly using a paint roller. tracing paper; fabric stores); and stretch it out, stapling it in Leave to dry and, if necessary, apply • Various colors of • White latex paint; place around the outer sides of the a second layer. Once it’s dry, you’re gouache; • Wooden frame. wood. Stretch the cloth tight before good to go! • Paintbrush. 48 IMPRESSIONISM AND BRAZIL POETIC EXPERIMENTS 49

Experimenting with light

Did you know that the word photo- Exercise 1 Exercise 2 graph means drawing with light? Level of difficulty: easy Level of difficulty: medium It’s Greek, from photo, light, and graphos, drawing. Find a camera or cellphone that has Once you’ve become familiar the function Manual (M). Select Man- with your camera, we can take You’ve almost certainly taken a photo ual and take a picture. How did it turn things a step further. The camera and then been disappointed to see out? If it’s very bright or a bit dark, try has a function called White Bal- that it didn’t come out exactly as you’d regulating the camera until you get ance (WB). This function plays wanted. Maybe it was too bright, or the effect you want. There are three with how the camera captures too dark, or a little orangey, and you parameters you can change: aperture the temperature of light. The don’t know why. So you go on clicking (f), shutter speed (T) and ISO. bluer it is, the hotter; the redder, until you get the image you were look- the colder. It may sound odd, but ing for. But what exactly went wrong When you settle on a combination that’s how it works. with the others? A problem with your you like, take a note of the settings. camera? Probably not. The culprit For example: f=5,6 / T=1/100 and There are symbols for different is almost certainly the light, and just ISO=200. temperatures, and you can play how much of it the camera, like the around with it by taking pic- human eye, captures. Now, go to some place with a land- tures of the same place at the scape view, such as a window in your same time, but under different A camera is basically an imitation of the home, and take a picture. Repeat this temperature settings. You can eye (lens) and brain (film or sensor). In at three different times of the day, say start with daylight, and move some cameras, the whole process is au- morning, noon and afternoon. Use on from there. How do the colors tomatic, but in others you can regulate the same settings and see how the look under each symbol? the way the camera processes the light, pictures turn out at different times. and that’s where the fun starts: IMPRESSIONISM AND BRAZIL WORKS EXHIBITED 51

WORKS EXHIBITED

Antônio Garcia Bento Paisagem (Água parada), 1894 Foi naquele ambiente Campos dos Goytacazes, RJ, 1897 – fantástico..., 1925 Rio de Janeiro, RJ, 1929 Oil on wood 14 x 19 cm Charcoal on paper Pinacoteca do Estado de São Paulo collection, 34,8 x 52,9 cm Porto do Calaboço, 1921 purchased by Governo do Estado de São Paulo, Governo do Estado do Rio de Janeiro / Secre- 1944 taria de Estado de Cultura / Fundação Anita Oil on wood Mantuano de Artes do Estado do Rio de Janeiro 24 x 35,5 cm Crepúsculo, 1895 - Funarj / Museu Antonio Parreiras collection Orandi Momesso collection Oil on wood Outras vezes nos píncaros dos Untitled, n.d. 24,5 x 32,5 cm rochedos..., c. 1925 Private collection Oil on wood Charcoal on paper 35 x 27 cm Marinha, c. 1905 45,2 x 30,1 cm Orandi Momesso collection Governo do Estado do Rio de Janeiro / Secre- Oil on canvas taria de Estado de Cultura / Fundação Anita Untitled, n.d. 45,2 x 64,5 cm Mantuano de Artes do Estado do Rio de Janeiro Governo do Estado do Rio de Janeiro / Secre- - Funarj / Museu Antonio Parreiras collection Oil on cardboard taria de Estado de Cultura / Fundação Anita 20 x 29 cm Mantuano de Artes do Estado do Rio de Janeiro Um deles armou sua tenda..., c. 1925 Orandi Momesso collection - Funarj / Museu Antonio Parreiras collection Charcoal on paper Navios na baía do Rio de 30 x 45,1 cm Janeiro, 1912 Governo do Estado do Rio de Janeiro / Secre- Antonio Parreiras taria de Estado de Cultura / Fundação Anita Niterói, RJ, 1860 – 1937 Oil on canvas Mantuano de Artes do Estado do Rio de Janeiro 41,5 x 53,0 cm - Funarj / Museu Antonio Parreiras collection Private collection Paisagem (Friburgo), 1891 Era dela que ao romper da Contentava-me naqueles tempos..., aurora, eu saía..., 1927 Oil on canvas 1925 60 x 73,5 cm Charcoal on paper Pinacoteca do Estado de São Paulo collection, Charcoal on paper 43 x 58,5 cm gift of Família Silveira Cintra, 1956 39,7 x 48,3 cm Governo do Estado do Rio de Janeiro / Secre- Governo do Estado do Rio de Janeiro / Secre- taria de Estado de Cultura / Fundação Anita taria de Estado de Cultura / Fundação Anita Mantuano de Artes do Estado do Rio de Janeiro Detail of Mappa Architectural da cidade do Rio de Janeiro - Parte Mantuano de Artes do Estado do Rio de Janeiro - Funarj / Museu Antonio Parreiras collection Comercial, 1874 - Funarj / Museu Antonio Parreiras collection 52 IMPRESSIONISM AND BRAZIL WORKS EXHIBITED 53

Caminho de Itaipu, 1932 Mantuano de Artes do Estado do Rio de Janeiro Quinta da Boa Vista, 1919 Rua Santa Clara, Copacabana, Três meninas no jardim, n.d. Porto de Natal, n.d. - Funarj / Museu Antonio Parreiras collection c. 1924 Oil on canvas Oil on canvas Oil on canvas Oil on wood 40,5 x 73,4 cm Marinha, n.d. 44 x 44 cm Oil on canvas 156 x 104 cm 18,5 x 24 cm Governo do Estado do Rio de Janeiro / Secre- Private collection 28 x 58 cm Museu Nacional de Belas Artes / Ibram / MinC Orandi Momesso collection taria de Estado de Cultura / Fundação Anita Oil on canvas Private collection collection Mantuano de Artes do Estado do Rio de Janeiro 45,2 x 65,5 cm Untitled, 1919 - Funarj / Museu Antonio Parreiras collection Governo do Estado do Rio de Janeiro / Secre- Alto do Morro Santo Antônio, taria de Estado de Cultura / Fundação Anita Oil on wood c. 1925 Giovanni Battista Amanhecer no litoral, c. 1933-34 Mantuano de Artes do Estado do Rio de Janeiro 63 x 48 cm Georg Grimm - Funarj / Museu Antonio Parreiras collection Museu Afro Brasil collection Oil on canvas glued on wood Castagneto Kempten, Germany, 1846 – Palermo, Genoa, Italy, 1851 – Rio de Janeiro, RJ, 1900 Oil on canvas 26 x 35 cm Italy, 1887 70,6 x 105,5 cm Panorama da Baixada, n.d. Ricardo Barradas – RJ collection Governo do Estado do Rio de Janeiro / Secre- Barco, 1848 taria de Estado de Cultura / Fundação Anita Oil on canvas Eliseu D’Angelo Encosta do Morro de Santo Mantuano de Artes do Estado do Rio de Janeiro 49 x 72 cm Antônio, c. 1925 Rochedo de Boa Viagem, 1887 Oil on wood - Funarj / Museu Antonio Parreiras collection Governo do Estado do Rio de Janeiro / Secre- Visconti 10,5 x 24 cm taria de Estado de Cultura / Fundação Anita Salerno, Italy, 1866 – Rio de Janeiro, RJ, 1944 Oil on wood Oil on canvas Private collection Tempo sombrio, 1936 Mantuano de Artes do Estado do Rio de Janeiro 26 x 35 cm 79,9 x 61 cm - Funarj / Museu Antonio Parreiras collection Vista da Gamboa, 1889 Ricardo Barradas – RJ collection Governo do Estado do Rio de Janeiro / Secre- Oil on canvas taria de Estado de Cultura / Fundação Anita Vista da baía do Rio de Janeiro 67,5 x 90,7 cm Oil on canvas Serra dos Órgãos, c. 1928 Mantuano de Artes do Estado do Rio de Janeiro tomada de Niterói, 1885 Governo do Estado do Rio de Janeiro / Secre- 24,5 x 41 cm - Funarj / Museu Antonio Parreiras collection taria de Estado de Cultura / Fundação Anita Arthur Timótheo Cristina and Jorge Roberto Silveira collection Oil on wood Oil on canvas Mantuano de Artes do Estado do Rio de Janeiro 25 x 34 cm 44,5 x 90 cm - Funarj / Museu Antonio Parreiras collection da Costa Copacabana, 1915 Private collection Private collection Rio de Janeiro, RJ, 1882–1922 Georgina de Moura Pintando do natural, 1937 Oil on canvas Descanso em meu jardim, Vista da baía do Rio de Janeiro Paisagem com Igreja da 23 x 33 cm c. 1938 Andrade Albuquerque (Pedra de Itapuca, Niterói), 1886 Oil on canvas Penha, 1915 Maria Clara Visconti Luz collection Taubaté, SP, 1885 – Rio de Janeiro, RJ, 1962 77,5 x 96,5 cm Oil on canvas Oil on canvas Governo do Estado do Rio de Janeiro / Secre- Oil on canvas Morro com casario, 1917 81 x 60 cm Raio de sol, c.1920 45 x 91 cm taria de Estado de Cultura / Fundação Anita 42,5 x 63 cm Private collection Private collection Mantuano de Artes do Estado do Rio de Janeiro Private collection Oil on wood Oil on canvas - Funarj / Museu Antonio Parreiras collection 13,5 x 22 cm Igreja de Santa Teresa, n.d. 98,5 x 77,5 cm Bote a seco, 1894 Mercado velho, 1918 Private collection Museu Nacional de Belas Artes / Ibram / MinC Crepúsculo, n.d. Oil on canvas collection Oil on canvas Oil on wood Copacabana, c. 1920 65 x 81 cm 21 x 46 cm Oil on canvas 21 x 29 cm Museu Nacional de Belas Artes / Ibram / MinC Canto do Rio, c. 1926 Private collection 60,5 x 90,8 cm Orandi Momesso collection Oil on canvas on cardboard collection Governo do Estado do Rio de Janeiro / Secre- 25 x 33 cm Oil on canvas Marinha com barcos, 1894 taria de Estado de Cultura / Fundação Anita O cais de Pharoux, 1918 Ricardo Barradas – RJ collection Paisagem de Teresópolis, n.d 76,5 x 105 cm Mantuano de Artes do Estado do Rio de Janeiro Governo do Estado do Rio de Janeiro / Secre- Oil on wood - Funarj / Museu Antonio Parreiras collection Oil on wood Baixada de Villa-Rica, 1924 Oil on canvas taria de Estado de Cultura / Fundação Anita 25 x 50 cm 21 x 29 cm 60,6 x 46 cm Mantuano de Artes do Estado do Rio de Janeiro Luiz Carlos Ritter, Rio de Janeiro collection Dois panoramas da baía do Orandi Momesso collection Oil on canvas Secretaria de Estado de Cultura do Rio de - Funarj / Museu Antonio Parreiras collection Rio de Janeiro, n.d. 73,5 x 142,4 cm Janeiro / Fundação Anita Mantuano de Artes Praia do Leme, 1895 Morro da favela, 1919 Governo do Estado do Rio de Janeiro / Secre- do Rio de Janeiro / Museu de História e Arte do Igreja dos Remédios - Oil on canvas taria de Estado de Cultura / Fundação Anita Rio de Janeiro – Museu Ingá collection Praça João Mendes, n.d. Oil on canvas 30,4 x 68,2 cm Oil on canvas Mantuano de Artes do Estado do Rio de Janeiro 25 x 33 cm Governo do Estado do Rio de Janeiro / Secre- 40 x 34 cm - Funarj / Museu Antonio Parreiras collection Oil on cardboard Private collection taria de Estado de Cultura / Fundação Anita Private collection 24,5 x 35 cm Orandi Momesso collection 54 IMPRESSIONISM AND BRAZIL WORKS EXHIBITED 55

Embarcações na baia do Rio Barcos no horizonte, 1899 Paisagem, 1925 Vista de São José de Itapemirim, Igreja de Boa Viagem, n.d. Pierre-Auguste Renoir de Janeiro, 1898 1914 Limoges, França, 1841 – Oil on wood Oil on canvas on wood Oil on canvas Cagnes-sur-Mer, France, 1919 Oil on wood 12 x 24 cm 43,5 x 47 cm Oil on canvas 34,5 x 35,5 cm 5 x 13 cm Luiz Carlos Ritter, Rio de Janeiro collection Museu Afro Brasil collection 26,3 x 35,6 cm Secretaria de Estado de Cultura do Rio de Private collection Secretaria de Estado de Cultura do Rio de Janeiro / Fundação Anita Mantuano de Artes O pintor Le Couer caçando na Paisagem, 1899 Paisagem, 1926 Janeiro / Fundação Anita Mantuano de Artes do Rio de Janeiro / Museu de História e Arte do Floresta de Fontainebleau, 1866 Encouraçado na baia do Rio do Rio de Janeiro / Museu de História e Arte do Rio de Janeiro – Museu Ingá collection de Janeiro, c. 1898 Oil on wood Oil on wood Rio de Janeiro – Museu Ingá collection Oil on canvas 15 x 28 cm 37,7 x 47,5 cm Lagoa Rodrigo de Freitas 112 x 90 cm Oil on wood Private collection Museu Afro Brasil collection Rio Soberbo – Teresópolis, 1927 ou Gávea, n.d. Museu de Arte de São Paulo Assis 14 x 25 cm Chateaubriand collection Luiz Carlos Ritter, Rio de Janeiro collection Paisagem com córrego, c. 1900 Paisagem, 1926 Oil on canvas Oil on canvas 99 x 107,5 cm 37,3 x 45,6 cm Dama sorrindo (retrato de Enseada com pedras e canoas, Oil on wood Oil on canvas Secretaria de Estado de Cultura do Rio de Secretaria de Estado de Cultura do Rio de Alphonsine Fournaise), 1875 c. 1898 41 x 21 cm 94 x 163 cm Janeiro / Fundação Anita Mantuano de Artes Janeiro / Fundação Anita Mantuano de Artes Private collection Museu Nacional de Belas Artes / Ibram / do Rio de Janeiro / Museu de História e Arte do do Rio de Janeiro / Museu de História e Arte do Oil on canvas Oil on wood MinC collection Rio de Janeiro – Museu Ingá collection Rio de Janeiro – Museu Ingá collection 42 x 34 cm 24,5 x 32,5 cm Marinha (Paquetá), n.d. Museu de Arte de São Paulo Assis Private collection Paisagem, n.d. Trecho do Rio de Janeiro, 1927 Paisagem – Corcovado, n.d. Chateaubriand collection Oil on canvas Marinha, 1898 30 x 50 cm Oil on cardboard Oil on canvas Oil on canvas Retrato da Condessa de Pourtalès, Pinacoteca do Estado de São Paulo collection, 34 x 30 cm 133 X 160,5 cm 28,2 x 30,2 cm 1877 Oil on wood gift of Julieta de Andrada Noronha, 1965 Museu Afro Brasil collection Secretaria de Estado de Cultura do Rio de Secretaria de Estado de Cultura do Rio de 12 x 23,5 cm Janeiro / Fundação Anita Mantuano de Artes Janeiro / Fundação Anita Mantuano de Artes Oil on canvas Luiz Carlos Ritter, Rio de Janeiro collection do Rio de Janeiro / Museu de História e Arte do do Rio de Janeiro / Museu de História e Arte do 95 x 72 cm João Timótheo Rio de Janeiro – Museu Ingá collection Rio de Janeiro – Museu Ingá collection Museu de Arte de São Paulo Assis Paquetá, 1898 Joaquim Rocha Chateaubriand collection da Costa Paisagem do Rio Grande, c. 1929 Oil on wood Rio de Janeiro, RJ, 1879 – 1932 Fragoso Retrato de Coco (Claude Renoir), 14,4 x 21,9 cm Rio de Janeiro, RJ, 18--? – Roma, Italy, 1893 Oil on wood 1903-04 Pinacoteca do Estado de São Paulo collection, Paisagem, 1910 27 x 35,5 cm Mário Navarro gift of Família Silveira Cintra, 1956 Mappa Architectural da cidade do Rio Secretaria de Estado de Cultura do Rio de Oil on canvas Oil on canvas de Janeiro - Parte Comercial, 1874 Janeiro / Fundação Anita Mantuano de Artes da Costa 28,5 x 24 cm Praia com pedras em Paquetá, 67,5 x 82,5 cm do Rio de Janeiro / Museu de História e Arte do Rio de Janeiro, RJ, 1883 – Florença, Itália, 1931 Museu de Arte de São Paulo Assis 1898 Museu Afro Brasil collection Lithograph Rio de Janeiro – Museu Ingá collection Chateaubriand collection 299 x 245 cm Marinha, 1911 Oil on wood Rio, 1915 Banco Itaú collection Pedra da Gávea (atrib.), 1935 Quatro cabeças (Jean Renoir), 23 x 38 cm Oil on wood 1905-06 Private collection Oil on canvas on wood Oil on canvas 33 x 40 cm 39,5 x 46,8 x 3 cm 26 x 34,7 cm Museu Nacional de Belas Artes / Ibram / MinC Oil on canvas Trecho da Praia de São Roque Private collection Lucílio Secretaria de Estado de Cultura do Rio de collection 32,5 x 27 cm em Paquetá, RJ, c. 1898 Janeiro / Fundação Anita Mantuano de Artes Museu de Arte de São Paulo Assis de Albuquerque do Rio de Janeiro / Museu de História e Arte do Marinha com barcos, n.d. Chateaubriand collection Oil on canvas Paisagem RJ, 1921 Barras, PI, 1877 – Rio de Janeiro, RJ, 1939 Rio de Janeiro – Museu Ingá collection 32 x 40 cm Oil on wood Retrato de Claude Renoir, c. 1908 Museu Nacional de Belas Artes / Ibram / MinC Oil on canvas Paisagem, 1949 20 x 30,5 cm collection 40 x 60 cm Arredores de Porto Alegre, 1914 Private collection Oil on canvas Pinacoteca do Estado de São Paulo collection, Oil on canvas 56 x 47 cm gift of Emerson Jamil Osternack Curi, 1995 Oil on wood 35,5 x 50,7 cm Museu de Arte de São Paulo Assis 25 x 33 cm Pinacoteca do Estado de São Paulo collection, Chateaubriand collection Orandi Momesso collection gift of Família Azevedo Marques, 1949 56 IMPRESSIONISM AND BRAZIL CREDITS 57

Natureza-morta com limões Letter from Antonio Parreiras Palletes, n.d. e xícara, 1910 entitled The first palette, 1932 IMPRESSIONISM Wood Oil on canvas Governo do Estado do Rio de Janeiro / Secre- 26,9 x 42,3 cm 32,3 x 43 x 6 cm taria de Estado de Cultura / Fundação Anita Governo do Estado do Rio de Janeiro / Secre- AND BRAZIL Fundação Ema Klabin collection Mantuano de Artes do Estado do Rio de Janeiro taria de Estado de Cultura / Fundação Anita - Funarj / Museu Antonio Parreiras collection Mantuano de Artes do Estado do Rio de Janeiro Banhista enxugando o braço direito - Funarj / Museu Antonio Parreiras collection (Grande nu sentado), 1912 Antonio Parreiras in the forest, n.d. Umbrella holder, n.d. Oil on canvas Photograph on paper 93 x 74 cm Governo do Estado do Rio de Janeiro / Secre- Wood and metal Museu de Arte de São Paulo Assis taria de Estado de Cultura / Fundação Anita 124,5 x 10,5 x 4,5 cm Chateaubriand collection Mantuano de Artes do Estado do Rio de Janeiro Governo do Estado do Rio de Janeiro / Secre- REALIZATION ACKNOWLEDGMENTS PARTNERS OF - Funarj / Museu Antonio Parreiras collection taria de Estado de Cultura / Fundação Anita Museu de Arte Moderna MUSEU DE ARTE MODERNA Mantuano de Artes do Estado do Rio de Janeiro de São Paulo Alfredo Turbay Neto Banco, n.d. - Funarj / Museu Antonio Parreiras collection Carlos Nader MANTENEDORES CURATORSHIP Casa do Artista Wood and leather Felipe Chaimovich David Misan 54 x 41 x 36,5 cm Emanoel Araujo ANTONIO PARREIRAS’ Governo do Estado do Rio de Janeiro / Secre- PRODUCTION Fundação Biblioteca Nacional taria de Estado de Cultura / Fundação Anita Curadoria MAM Fundação Ema Klabin OBJECTS Mantuano de Artes do Estado do Rio de Janeiro Instituto São Fernando - Funarj / Museu Antonio Parreiras collection EXPOGRAPHIC PROJECT Itaú Cultural AND LIGHTING Jorge Roberto Silveira Paintbrush, c. 1860 Antonio Parreiras’ notebook, n.d. Felipe Tassara Luis Antonio de Almeida Braga Iara Ito Luiz Carlos Ritter Wood, metal, and animal hair 23,4 x 16,5 cm Tania Mara Menecucci Luiz Sôlha 33,3 x 0,8 cm Governo do Estado do Rio de Janeiro / Secre- Maria Clara Luz Visconti Governo do Estado do Rio de Janeiro / Secre- taria de Estado de Cultura / Fundação Anita GRAPHIC DESIGN Max Perlingero taria de Estado de Cultura / Fundação Anita Mantuano de Artes do Estado do Rio de Janeiro Estúdio Campo Museu de Arte de São Paulo Mantuano de Artes do Estado do Rio de Janeiro - Funarj / Museu Antonio Parreiras collection Museu Nacional de Belas Artes - Funarj / Museu Antonio Parreiras collection EXPOGRAPHIC PROJECT Museu Afro Brasil Box, n.d. EXECUTION Museu Antonio Parreiras Receipts of painting material, dec. Metro Cenografia Museu do Ingá 1910-30 Wood and metal Pedro Moreira Salles 8 x 44,7 x 30 cm CONSEVATION Pinacoteca de São Paulo SÊNIOR PLUS Governo do Estado do Rio de Janeiro / Secre- Governo do Estado do Rio de Janeiro / Secre- Acervo MAM Pinakotheke Cultural Levy & Salomão Advogados taria de Estado de Cultura / Fundação Anita taria de Estado de Cultura / Fundação Anita Projeto Eliseu Visconti Mantuano de Artes do Estado do Rio de Janeiro Mantuano de Artes do Estado do Rio de Janeiro INSTALLATION Ricardo Viana Barradas SÊNIOR - Funarj / Museu Antonio Parreiras collection - Funarj / Museu Antonio Parreiras collection Manuseio Romulo Dertinati Apis3 Ronald Visconti BNP Paribas Antonio Parreiras’ friends at a Easel for painting, n.d. SHIPPING Simone Hölfling Canal Curta! camping at Iguaçu Waterfalls, 1919 ArtQuality Tobias Visconti DPZ Wood Yole Maria Versiani EMS Photograph on paper 75,3 x 10,3 cm ENGLISH TRANSLATION Estadão Governo do Estado do Rio de Janeiro / Secre- Governo do Estado do Rio de Janeiro / Secre- Anthony Doyle Folha de S.Paulo taria de Estado de Cultura / Fundação Anita taria de Estado de Cultura / Fundação Anita Instituto Votorantim Mantuano de Artes do Estado do Rio de Janeiro Mantuano de Artes do Estado do Rio de Janeiro COMMUNICATION PwC - Funarj / Museu Antonio Parreiras collection - Funarj / Museu Antonio Parreiras collection Conteúdo Comunicação Rádio Eldorado Revista Arte!Brasileiros Trip Editora 58 CREDITS

PLENO ACKNOWLEDGMENTS MAM São Paulo ArtLoad Ibirapuera Park, portão 3 Artikin Instituto do Patrimônio Histórico + 55 11 5085 -1300 Bolsa de Arte e Artístico Nacional, Secretaria da www.mam.org.br Caixa Belas Artes Cultura do Estado de São Paulo, Sec- Credit Suisse retaria da Educação do Estado de São OPENING HOURS Klabin Paulo, Secretaria Municipal do Verde Tuesday-Sunday and public holidays KPMG Auditores Independentes e do Meio Ambiente de São Paulo 10 am - 6 pm Montana Química Tickets until 5:30 pm Pirelli Power Segurança e Vigilância Ltda ADMISSION R$6.00 Reserva Cultural Half-price for students, with a stu- Revista Adega MODERNO EXTRA MAM STAFF dent’s card. Free for children under 10, Saint Paul Escola de Negócios senior citizens over 60, MAM partners and students, staff members of partner REALIZATION organizations and museums, mem- MÁSTER Museu de Arte Moderna bers of ICOM, AICA, and ABCA with Bloomberg Philanthropies de São Paulo identification, environmental officers, Casa da Chris and officers from CET, GCM, PM and FIAP GRAPHIC DESIGN subway staff, car-park attendants and Gusmão & Labrunie – Prop. Estúdio Campo taxi drivers with identification and up Intelectual to four guests. Revista Piauí EDITORIAL COORDINATION Sanofi Renato Schreiner Salem FREE ADMISSION ON SATURDAYS EDITORIAL PRODUCTION APOIADOR Rafael Itsuo GROUP TOURS Cultura e Mercado +55 11 5085 -1313 FESP Fundação Escola de Sociologia e PROOFREADING AND TEXT [email protected] Política de São Paulo PREPARATION Goethe-Institut Paulo Futagawa DISABLED ACCESS ICIB Instituto Cultural Ítalo- PARKING WITH ZONA Brasileiro ENGLISH TRANSLATION AZUL PASS ICTS Protiviti Anthony Doyle IFESP Instituto de Estudos Franceses FOLLOW MAM ONLINE e Europeus de São Paulo TEXTS /mamoficial Instituto Filantropia Felipe Chaimovich and IPEN Educativo MAM O Beijo Paulista S.A. Empreendimentos PHOTOS Pernilongo Filmes Educativo MAM (p. 43-47) Revista ‘CAUSE MAGAZINE Iara Bartoletto (cover, p. 30, 40, 48) Revista FFWMAG Isabella Matheus (p. 20, 21, 23) Senac Jaime Acioli (p. 18, 28) Seven English – Español João Musa (p. 15-17) Top Clip Monitoramento & Luciano Momesso (p. 22, 24-27) Informação PRINTING AND PHOTO RETOUCHING PROGRAMAS EDUCATIVOS Gráfica Eskenazi BTG Pactual (Contatos com a Arte) Cielo (Olhar de perto) PRINT RUN Comgás (Família MAM) 1,000 copies